Festival Catalogue

Transcription

Festival Catalogue

Table of Contents
Membership Info
5
Ticket Info
7
Letters of welcome
9
Education Program
Youth Programs
18
Education Off Screen
19
Adult Workshops
20
The Witnessed City Residency
20
Artist Talks
21
Awards
22
Jury
23
Program Calendar
24
Special screening, Sharon Lockhart’s Pine Flat
27
On Screen (film and video screenings)
29
Live Images (live performance events)
55
Off Screen (gallery installations)
67
Online Works
84
Community Partners
92
Artist Index
99
Title Index
100
Distributor Index
103
Map of Venues
104
1
THANKS
The festival acknowledges the ongoing support of our partners in the public sector:
David Poole, Kelly Langgard, Anne-Marie Hogue, Josette Bélanger & Ian Reid (Media Arts
Section, Canada Council for the Arts); Karla Hartl & Andrew Gann (Department of Canadian
Heritage); Alejandra Sosa (Telefilm Canada); Brian Conway (The Ontario Trillium Foundation);
Carolyn Vesely, Lisa Wöhrle, Mark Haslam & Glenn Hodgins (Ontario Arts Council); Bill Huffman
(Toronto Arts Council); Natalija Marjanovic, (Department of Foreign Affairs); Remco Volmer at
the Embassy of the Netherlands; Daniel Canale & Anaëlle Bourguignon of the Consulat Général
de France à Toronto; Doina Popescu at the Goethe-Institut, Peter Chenery and Karen Doyle at
the British Council, Tani Miki at the Japan Foundation.
Special thanks to our corporate partners:
Gilles Gratton (ING), Rob Sandolowich (Westbury National Show Systems), Chanelle Routhier
(NFB), Chris Goddard (Steam Whistle Brewing), Barbara Broden (TFTVO), Christina Zeidler,
Penny Rose & Chris Mitchell (The Gladstone Hotel), Candy Higgins & Brian Francis (NOW
Magazine), Adrienne DeFrancesco (Xtra!), Ken Stowar & Elaine Banks (CIUT 89.5 fm), Tim May
(CKLN 88.1 fm), Mark Peranson (CinemaScope), Kelly Kane (Madison Boutique Hotel), Greg
Davis (Soundscapes), Trevor Tyre (Precision Transfer), Jamie Cheveldeyoff (Koma Designs),
Justin Lovell (Frame Discreet), George Harris (GIFTS), David Mintz (Catering by David’s), Jeff
Kah (Pelee Island Winery), Trudy Mascher (Travel Agent), Heather McKelvey (Rogers), David
Clandfield (New College), Silvana Marselis (Kodak).
A BIG thanks to our indispensable local and national colleagues:
Pam Edmonds & Rebecca McGowan (A Space), Philip Monk & Emelie Chhangur (AGYU), Penny
McCann & James Missen (Available Light), Atom Egoyan and Stephanie Markowitz (Camera
Bar), Greg Woodbury & Ross Turnbull (Charles Street Video), Martin Heath & Janet Attard
(CineCycle), Andrea Picard, Chris Gehman & James Quandt (Cinematheque Ontario), Deirdre
Logue & Jeff Crawford (CFMDC), Stephanie Allen, Kelly McCray & Scott Everingham (Edward
Day Gallery), Sara Angelucci & Katy McCormick (Gallery 44), Kim Simon (Gallery TPW), Pat
Macaulay, Marlee Choo (Harbourfront Centre/York Quay), Sean Farnel & Jonathan DaSilva
(Hot Docs) , Jennifer Dorner & Katherine Jerkovic (IMAA), Danis Goulet and Kerry Swanson
(imagineNative), Scott Ferguson & Winnie Luk (Inside Out), Dana Samuel, Swintak & Brendan
Wypich (InterAccess), Roberto Ariganello , Renata Mohamed and Michael Barker (LIFT), Ric
Amis (MacTweak), David Dinnell & Oona Mosna (Media City), Natalie DeVito and Dave Dyment
(Mercer Union), Camilla Singh & David Liss (MOCCA), Sylvia Jonescu Lisitza (Moving Images
Distribution), Marc Glassman (Pages Books & Magazines), Paul Petro (Paul Petro Contemporary
Art), Tom Taylor (Pleasure Dome), Scott McLeod, Sarah Robayo Sheridan & Chantal Rousseau
(Prefix ICA), Christy Thompson & Gregory Burke (The Power Plant), Deanna Wong and Raymond
Phathanavirangoon (Reel Asian), Roy Mitchell & Aubrey Reeves (Trinity Square Video), Sylvie
Roy (Vidéographe), Lauren Homes (Video Out), Kim Tomczak, Lisa Steele, Wanda Vanderstoop,
Daniel Cockburn, Heather Keung, Erik Martinson (Vtape), Liliana Nunez (GIV), Irene Packer
(WARC), Lynne Wynick & Katrina Enros (Wynick/Tuck Gallery), Gregory Elgstrand & Robert
Labossière (YYZ Artists’ Outlet), Brenda Darling, Franci Duran, Elle Flanders, Lesley Grant,
Rochelle Holt, Mike Hoolboom, Charlotte Mickie, Isabelle Noël, Jubal Brown, Sally McKay, Paulette Phillips, Karyn Sandlos, Leslie Peters, Peter Sandmark, Mark Slone, Margie Zeidler, Jane
Kim, Michelle Kasprzak, Catharine MacKinnon & Jill Andrew (TIDFAF), Lindsay Wright, Kristine
Collins and Lindsay Miller (NFB), Michèle Stanley (TAIS), Sara MacLean (twig design), Paola
Poletto and Daniela Bryson at the Design Exchange, Nicole Gingras, Rachel Kalpana James and
Nadia Kurd at SAVAC, Annette Wong, Leemor Valin, Katherine Grunenko, Will Munro, Bennett
Jones-Phillips and the great bands Final Fantasy, Gentleman Reg and The Two Koreas.
And thanks to the following international organizations and individuals:
Takashi Sawa at Image Forum (Tokyo), Patrick Friel at Chicago Filmmakers, Ralph McKay at
Sixpack Film Americas, Anna Abrahams at Holland Film (Rotterdam), Mike Sperlinger at LUX
(London UK), Mark Webber at the London Film Festival, Claire Gausse at Light Cone (Paris), Kent
Lambert at Video Data Bank (Chicago), Gye-Joong Kim and Dong-hyun Park at EXiS (Seoul),
Eun-hee Kim and Jeon Sung-kwon at Seoul Film Festival, Angelika Hoch and Stefanie SchulteStrathaus at Kino Arsenal (Berlin), Herbert Schwarze at Kurzfilmtage Oberhausen, Brigitta
Burger-Utzer at Sixpack Film (Vienna), Gerhard Wissner at the Kasseler Dokumentarfilm und
Videofest, Joshua Flanders (Chicago Institute of the Moving Image), Rosalie Benitez (Barbara
Gladstone Gallery), Iman Issa, Ute Aurand (Filmsamstag), Cezar Migliorin (Sao Paulo), David
Metcalfe at FORMA (Newcastle), Mike Mashon at the Library of Congress (Washington), Yasuo
Ozawa at TPAM (Tokyo), Mark McElhatten at the New York Film Festival, Maaike van Langen at
International Film Festival Rotterdam, Michelle Puetz at the University of Chicago, Mr. Mukherjee at Films Division (Mumbai), Jane Balfour (London).
BOARD OF DIRECTORS
Andrea Slane (Chair), Tori Allen (Vice-Chair), Gisèle Gordon (Secretary),
Rose Bellosillo (Treasurer), Janet Geisberger, Danis Goulet, Desmond Lee,
Sally Lee, Pamila Matharu, Jody Shapiro, Michael Zryd, Giselle Basanta
(on leave), Karyn Sandlos (Ex-officio)
ADVISORY BOARD
Sara Diamond, Atom Egoyan, Niv Fichman, Joanne Fraser,
Marc Glassman, Mike Hoolboom, Jean Pierre Lefebvre,
Janine Marchessault, Charlotte Mickie, Serge Noël,
Geoff Pevere, Patricia Rozema, Michael Snow, Karen Tisch
STAFF
Installations Coordinator: Christina Battle
Executive Director: Scott Miller Berry
Education Programmer: Deanna Bowen
Festival Manager: Lise Brin
Development Director: Shannon Cochrane
Programmer: Chris Kennedy
Artistic Director: Jeremy Rigsby
Technical Coordinator: Antonella Bonfanti
Live Events Manager: Ben Mayer
Venue Manager: Amy Rouillard
Guest Coordinator: Maggie MacDonald
Interns: Victoria Cheong, Katharine Grunenko, Nicolas Muzzin,
Eric Rosenberg, Svea Vikander, Annette Wong
2005–2006 Year-round Volunteers: Andie Cousins, Lev Levner,
Leemor Valin
PROGRAMS
Guest Curators: Jon Davies, Daniel Barrow, Marc Glöde, Shai Heredia
Susan Lord, Sara MacLean, Aki Onda, Kevin Parnell, Peter Ride, Atelier du
Manitoba (Matthew Rankin and Walter Forsberg)
Canadian Submissions Screening Committee:
Jon Davies, Luo Li, Gail Mentlik
Student Jury Members: Krista Davis, Kim Jackson, Nicolas Pereda
Design Team
Trailer, catalogue and festival materials: Terry Lau, Beehive Design
Illustrations by Ryan Solski
Web programming and online exhibition interface: Sara MacLean,
twig design
Audio tour: Erik Rutherford
Images website created by Leif Harmsen
IMAGES FESTIVAL
448-401 Richmond Street West
Toronto, Ontario
M5V 3A8 Canada
T: 416.971.8405
F: 416.971.7412
E: [email protected]
W: imagesfestival.com
The Images Festival is produced by the Northern Visions Independent Film
and Video Association, a registered charitable organization since June
1988. Charitable # 12741 8762 RR0001
Auditor: David Burkes
Publicity: Joanne Smale, Planet3 Communications
Ad Sales: Milada Kovacova
3
MEMBERSHIP
The 2006 Images membership program is generously supported by:
MEMBERSHIP PROCLAMATION!
WHEREAS, IT HAS BEEN THE PRACTICE OF THE ARTS
COMMUNITY, PA R T I C U L A R LY I N T H A T PA R T O F
CANADA CALLED ONTARIO, IN AND AROUND THE
GOOD TOWN OF TORONTO AND THE PLACES ADJACENT,
TO CONVENE ON, SUPPOR T AND HOLD UP SUCH
BRIGHT STARS OF CULTURE AS THE IMAGES FESTIVAL,
LET IT NOW BE KNOWN THAT SUBSCRIBING TO
MEMBERSHIP IN SAID GOOD ORGANIZATION IS CALCULATED TO IMPROVE YOUR MORAL AND INTELLECTUAL
FACULTIES. MAKES YOU FEEL GOOD TOO!
Join the Images Festival circus of supporters and become a
member today. Membership comes with a bevy of great benefits, a
caravan of free swag and the knowledge that you are doing good.
Come one, come all!
For more information on membership call 416-971-8405, email
[email protected] or visit the Images Ticket Booth
during the festival
Entry deadline for members-only draw entry is April 21, 2006. Contest open to residents of Canada,
excluding Québec. Images Festival staff and board members are ineligible. Odds of winning will
depend on number of entrants.
Tax receipts will be issued for a portion of the 35mm membership. Member fees paid to Images
may be tax deductible, ask your tax consultant for more information. Our charitable registration
number is #12741 8762 RR0001. Images’ membership program is non-voting.
35mm Membership — $300
2 Members-only Festival Passes*
2 Tickets to the Ibarra/Freedman live performance
Free admission to all year-round Images events
Copy of Landscape with Shipwreck: first person narrative
and the films of Philip Hoffman
(edited by Karyn Sandlos and Mike Hoolboom)
Copy of Like Mangoes in July: The Work of Richard Fung
(edited by Helen Lee and Kerri Sakamoto)
Copy of The Sharpest Point: Animation at the End of Cinema
(edited by Chris Gehman and Steve Reinke)
Images Festival tote bag
Images Festival limited edition t-shirt
20% off all YYZ Book titles
6 chances to win in members-only draw
16mm Membership — $100
1 Members-only Festival Pass*
Members’ discount to all year-round Images events
Copy of Like Mangoes in July: The Work of Richard Fung
Images Festival tote bag
20% off festival merchandise
20% off all YYZ Book titles
Super-8 Membership — $40
Members’ discount to all ticketed festival screenings and other year-round
Images events
20% off festival merchandise
20% off all titles at YYZ Books
*Some restrictions apply. Please see Ticketing Information (p.7) for further details.
5
beehivedesign.com
servicing the arts community
design sponsor of the images festival
brand identity
business collaterals
• online solutions
•
•
[email protected]
4 1 6 .3 6 4 . 9 8 3 5
sinful design solutions
GETTING
YOUR
TICKETS
Buy tickets online at imagesfestival.com
starting March 21!
IMAGES INFO LINE: 416.297.0433
Single tickets for select events (Opening Night Gala Mike Hoolboom’s
Fascination, Closing Night screening of Peggy Anne Berton’s The Legend
of Buck Kelly, Susie Ibarra & Lori Freedman performance and Cats from
Japan performance) available in person from Soundscapes (572 College
Street) and Pages Books and Magazines (256 Queen Street West) starting
March 21.
Please note that advance tickets are not available for Free or Pay What
You Can events.
Ticket Prices
Regular Ticketed Screenings and Performances
$10 general admission
$8 students/seniors/members*
Opening Night Gala
Nicolás Guillén Landrián screening
$10.10 regular admission
$6 Cinematheque/Images members*
Same Day Tickets
Susie Ibarra & Lori Freedman concert
Passes
Pay What You Can Events
$5-8 suggested donation
Same day tickets will be available at the appropriate venue starting one
hour before the event. Cash only.
Passes are available only as part of the “16mm” and “35mm” Images
Memberships (see p. 5 for details). Please note that advance tickets are
not available on these Members-only Festival Passes, as tickets will be
held for passholders until 15 minutes before the start of event. The Members-only Festival Pass does not provide access to the Ibarra/Freedman
live performance or to the Images-Mini youth screenings, and does not
guarantee a seat at PWYC events (which are first come, first served).
Youth Screenings
$2 students (as part of pre-booked group)
FREE for educator accompanying a class
To reserve spaces for your class or group, please contact
[email protected]. Individual tickets for non-students will be
available at the regular ticket prices at the door, subject to availability.
*Appropriate ID required.
Admittance to all screenings (except Youth Screenings) is restricted to
those 18 years of age or older. The Images Festival believes in freedom
of artistic expression and is against discrimination on the basis of age.
However, under the Ontario Theatres Act, film and video festivals are
required to adopt a blanket adult rating in order to hold public screenings
without having to submit all works for prior classification. Film and video
are the only forms of expression subject to this kind of censorship system
in Ontario. The Images Festival complies with the Ontario Theatres Act
under protest.
All ticket prices include GST.
7
It’s an honour and a pleasure to welcome you to Images Festival 19!
Images is really moving this year: new festival venue, new office and new
pricing structure! We hope you will take advantage of the new Pay What
You Can pricing on international shorts and special series programs. The
festival continues to take steps to reach out to new audiences – please
take in our growing youth screenings, installations, live programs and late
night festivities. Film festivals are unique spaces in which to intersect
with a dense volume of art, people and stimuli. The staff, volunteers
and board at Images work tirelessly all year to put together this massive
undertaking at a fraction of what folks make in the private sector. The
cultural climate within which we operate is thriving yet sadly tenuous: the
artist-run milieu is poised precipitously on the edge — one funding cut
here or rent increase there is a huge detriment. Please consider becoming
a member — each and every membership contributes to our operations in
more ways than you might think...and our 20th anniversary is right around
the corner! Heartfelt thanks to our government funders, corporate sponsors, community partners, members and audiences.
Lastly, in August 2005, Bill 158 became law, renewing the Ontario Film
Review Board’s power over prior approval of any public display of film or
video. Images continues to reluctantly apply for a “festival exemption”
but must restrict our screenings to audiences 18 years and over, in direct
contradiction with our youth programs and strong desire to share media
art with younger people. The new law implies that art galleries should
also be restricted. This we will not enforce. Images continues to lobby
and network with other organizations to press for a blanket exemption to
allow festivals and galleries to self-regulate the presentation of independent media art.
Congratulations to all of the artists — thanks to all who have submitted
their projects to us — you keep us motivated and inspired.
We welcome your feedback, ideas and suggestions always.
Are there major changes to Images 2006? Yes and no. No because yes.
What I mean is, what’s the standard for this festival, where constant
change is par for the course? Precisely by changing, Images stays the
same: it stays true to its mutable, contradictory, don’t-pin-me-down-don’tfence-me-in essence. It remains that place where you can see some of
the world’s most prominent artists represented alongside young, unknown
talents or neglected masters; where artists using the latest, shiniest
technology jostle with devotees of “obsolete” gear-driven appliances,
where there is no fear of things legitimately inventive and startling in our
embrace of all those beautiful recalcitrants who disdain what is fashion
and fad. These are only a few of the many delicate balances that Images
strikes, and each year sees us lean in slightly different directions, but the
balancing act itself is nothing new: it represents the core values of the
festival, its reasons for existing. We invented that tightrope.
Still, there’s much that has shifted notably at Images 2006. Like: a new
cinema! A new ticketing policy! Welcome to the Workman Theatre at
CAMH, and welcome to the cinephile’s paradise of pay-what-you-can
screenings. Another significant change, within Images programming, is
the incorporation of many more guest-curated programs and exhibitions.
Whole swathes of gallery space and screen time have been happily ceded
to local and international specialists in fields ranging from Indian avantgarde film to Japanese audio art, on topics that extend from animated
films about trauma to computer-based art about landscapes — and the
festival is better for it. Not a change but a continuing trend from previous
years is the inclusion of even more live events: music, slideshows, 3-D
artificial universes, electromagnetized office supplies... finally, Images
increased attention to education and outreach programming has directed
more festival activities to young people, imparting a precious feel for the
rope to the next generation of Images funambulists. Plus, now there is pie.
Previously there was no pie. Now there is.
Bon festival!
My sincere appreciation goes out to Images programming team, to all our
presentation and venue partners, and to the artists and audiences who
make the festival possible.
Scott Miller Berry
Executive Director
Jeremy Rigsby,
Artistic Director
9
The Canada Council for the Arts is pleased to support 2006 Images Festival.
For a full ten days, the festival will celebrate independent film, video,
digital arts and new media through various screenings, installations and
performances.
The Ontario Arts Council (OAC) sends warm greetings to the 2006 Images
Festival. The Images Festival is, above all, a celebration of innovation. It
plays an important role in the growth and promotion of independent film,
video, new media, installation and performance artists.
This festival allows hundreds of Canadian and international artists in film,
video and the new media to express their talents in bold and imaginative
ways. Through works that are innovative and challenging in both form and
content, the festival offers its audience an engaging forum conducive to
critical dialogue and creative exchange. Over the past 19 years, Images
Festival has played an important role in exhibiting the work of Aboriginal
artists and culturally diverse artists.
In addition, the festival’s showcase of student films nurtures the next generation of artists and gives audiences access to an emerging pool of talent.
On behalf of the Canada Council, I would like to congratulate the media artists, the organizers, volunteers and the audiences who contribute so much
to the success of this event.
Have a wonderful festival.
Le Conseil des Arts du Canada est heureux d’appuyer le festival Images.
Pendant dix jours, le festival célébrera la vidéo et le film indépendant,
l’art numérique et les nouveaux médias par l’entremise de projections,
d’installations et de performances.
Ce festival permet à des centaines d’artistes du Canada et de la scène
internationale du film, de la vidéo et des nouveaux médias d’exprimer leur
talent de façon stimulante et imaginative. Grâce à des œuvres novatrices
et audacieuses à la fois dans la forme et le contenu, le festival offre à son
public une plate-forme qui favorise les dialogues critiques et les échanges
créatifs. Au cours des 19 dernières années, le festival Images a joué un rôle
important dans la présentation d’œuvres d’artistes autochtones et d’artistes
représentant la diversité culturelle.
OAC’s visual and media arts programs support artists in the kind of work
that finds an outlet at Images. We are proud to support the 2006 Images
Festival. My best wishes to everyone involved!
Le Conseil des arts de l’Ontario (CAO) envoie ses plus chaleureuses salutations au festival Images 2006. Ce festival – qui rend avant tout hommage
à l’innovation – tient un rôle important dans la croissance et la promotion
des artistes indépendants du film, de la vidéo, des nouveaux médias, de
l’installation et de la performance.
Plus encore, le festival Images met en vedette des films d’étudiants. Il
favorise ainsi l’épanouissement des artistes de la relève et permet au public
d’avoir accès à un nouveau vivier de talents.
Les programmes d’arts visuels et médiatiques du CAO aident les artistes
qui cherchent à s’exprimer par le genre d’œuvres présentées dans le cadre
de ce festival. Nous sommes heureux d’appuyer le festival Images 2006 et
envoyons nos meilleurs vœux de réussite à tous les intervenants.
Sincerely,
Au nom du Conseil des Arts, je tiens à féliciter les artistes des arts médiatiques, les organisateurs, les organisatrices, les bénévoles et le public qui,
incontestablement, contribuent à la réussite de cet événement.
Bon Festival!
Karen Kain, C.C.
Chair, Canada Council for the Arts
Présidente, Conseil des Arts du Canada
10
Martha Durdin
Acting Chair, Ontario Arts Council
Présidente intérimaire, Conseil des arts de l’Ontario
From urban life and dramatic landscapes to inspiring heroes and personal
struggles, all this — and more — makes for distinctive Canadian storytelling. Fittingly, Images Festival has put together a diverse program of works
that spotlights Canada and other cultures from around the world.
Part of celebrating outstanding Canadian productions is also recognizing the
talent behind them, and Images Festival plays a valuable role in showcasing
Canada’s creators and their productions.
Canadian film continues to evolve as an art form that remains vibrant and
alive by relying on the energies and ingenuity of a new generation.
For these very reasons, and in the spirit of our commitment as cultural
investor to help Canadian works reach audiences, Telefilm Canada is a proud
sponsor of this festival.
On behalf of the Board of Directors and staff of Telefilm, I would like to
extend a warm welcome to you and invite you to discover what Canadian
cinema has to offer. Congratulations to the organizers, volunteers and community whose hard work has helped make the 2006 edition of the Images
Festival possible.
Vie urbaine, paysages de toute beauté, héros inspirants ou personnages confrontés à des défis personnels, tout ceci caractérise les histoires du Canada, qui
offrent plus encore. Images Festival propose un programme diversifié d’œuvres
d’ici qui mettent en valeur le Canada et bien d’autres cultures du monde.
Congratulations to the Images Festival for presenting an exciting and
thought-provoking Festival for 2006.
Toronto Arts Council, through funding from the City of Toronto, is pleased to
be able to support Canada’s premiere media arts festival. This event gives
Toronto’s audiences and artists alike a unique opportunity to see the work of
film and video artists from across Canada and around the world.
The media arts, always at the cutting edge of the contemporary arts in
Canada, challenge our perceptions and inspire our imaginations. It is a great
privilege to have the opportunity to attend an entire festival devoted to this
inspiring work.
I would like to extend our congratulations and thanks to filmmakers, video
artists, organizers, audiences and volunteers who contribute so much to the
success of the festival. On behalf of Toronto Arts Council, please accept our
very best wishes for a successful festival and excellent year.
Don Moffat, FRAIC, RCA
President, Toronto Arts Council
Célébrer les productions canadiennes d’exception, c’est aussi reconnaître
le talent de leurs créateurs. Ce festival joue un rôle de premier plan dans la
mise en valeur des créateurs canadiens et de leurs productions.
Le cinéma canadien continue d’évoluer, expression artistique sensible et vivante
puisant à même l’énergie et l’esprit d’innovation de la nouvelle génération.
Pour ces raisons, et en tant qu’investisseur culturel qui entend rapprocher
les œuvres du public, Téléfilm Canada est fière d’être un commanditaire de
ce festival.
Au nom du conseil d’administration et de l’équipe de Téléfilm Canada, je vous
souhaite la plus chaleureuse bienvenue et vous invite à découvrir ce que vous
offre le cinéma canadien. En terminant, j’aimerais féliciter les organisateurs,
les bénévoles et les professionnels de l’industrie dont l’engagement et le
travail assurent le succès de l’édition 2006 de Images Festival.
S.Wayne Clarkson
Executive Director, Telefilm Canada
Directeur général, Téléfilm Canada
11
12
The National Film Board is proud to support Canada’s new and emerging
filmmakers through our sponsorship of the Images Festival and the NFB
Award for Best Emerging Canadian Film or Video Maker.
We’re also excited to welcome you to our NFB Mediatheque, in the heart
of Toronto’s cultural district, at 150 John Street. This year we’ll be offering
three workshops introducing students to 2D and 3D animation, as well as
the connection between sound and the moving image.
Enjoy the festival!
L’Office national du film du Canada est fier d’offrir son appui aux cinéastes
de la relève du Canada en commanditant le Festival Images et le prix de
l’ONF du Meilleur nouveau cinéaste ou vidéaste canadien.
Nous sommes aussi très heureux de vous accueillir à la Médiathèque de
l’ONF, située au cœur du quartier culturel de Toronto, au 150, rue John.
Cette année, nous offrirons trois ateliers où les étudiants pourront se
familiariser avec l’animation 2D et 3D, et explorer le lien entre le son et les
images animées.
Bon Festival!
Jacques Bensimon
Government Film Commissioner and NFB Chairperson
Commissaire du gouvernement à la cinématographie et président de l’ONF
13
15
17
EDUCATION
Education Program
Youth Workshops and Youth On Screen
NFB Mediatheque (150 John Street at Richmond)
(Accessible by TTC — Queen streetcar or Osgoode Subway)
Free artist-facilitated workshops are offered to schools and youth organizations over the course of the festival. Each workshop is devoted to a different topic: animation, sound composition, experimental filmmaking. The
Images Festival and Toronto Animated Image Society (TAIS) also present
an abbreviated look at this year’s on-screen video and film shorts specially
selected for youth as well as exerpts from The Graffiti Project, TAIS’ commissioned animation work in partnership with the Press Pause Collective.
The film is a fresh, youth-friendly work that highlights urban art/animation
as well as the individual styles of the six collective members via a core
story segmented in to six “artist sequences”. Press Pause Collective filmmakers will be in attendance.
niques pioneered by the legendary Norman McLaren, students will create
their own animated production by drawing and scratching on 35mm film.
Students will be inspired by innovative NFB works such as Begone Dull
Care and Blinkity Blank as well as being introduced to Norman McLaren’s
unique creative process. This workshop will re-connect students with the
magic of film, exposing them to the earlier work of artists and artisans
who have shaped how we produce films today. Selected titles from TAIS
and the Images Festival will also be screened, providing students with an
understanding of how contemporary works are influenced by important
works of our past.
The NFB Mediatheque in partnership with the Toronto
Animated Image Society and The Images Festival present:
Seeing Sounds: An Exploration of Sound in Film and Video
Screenings complement the NFB filmmaking workshops and will be held
at the National Film Board of Canada’s John Street location. These three
screenings will serve as a good introduction to experimental film and
video for students in grades 10 through 12. All workshops have a maximum capacity of 20 students. Student projects created in the workshop
will be screened as part of the Images Festival.
Workshop/Screening Cost: $2.00 per youth with pre-booked group; educators accompanying a group are free.
Rating: PG
24 Frames per Second 2D Animation Workshop
Tuesday, April 18
Workshop Time: 10:00 AM to 2:00 PM
Screening: 3:00 PM
This workshop provides students with an in-depth understanding of the
history and technology of the moving image. Using the tools and tech-
18
Wednesday, April 19
Screening: 3:00 PM
In this workshop students will learn about the important connection
between sound and the moving image. By watching and analyzing exciting NFB films with and without a soundtrack, students will learn how a
soundtrack is created. Students will then have the opportunity to create
their own short Foley soundtrack for an NFB film. A special guest sound
technician will show students how a film soundtrack is created, and the
impact of the soundtrack on the audience. Emphasizing the role of the
artisan in the filmmaking process, this workshop will expose students to
exciting career opportunities in the arts as well as providing them with
important critical thinking tools they can apply every day. In this workshop,
students will watch NFB films and selected films from TAIS and the Images Festival.
EDUCATION
Senior 3D Animation Workshop
A Guided Walking Tour to the 2006 Images Festival’s
Installation Projects
Saturday, April 15
1:00 PM to 5:00 PM
FREE!
Join us for a free guided walking tour of the installation and new media
projects exhibited in this year’s Images Off Screen. Interested gallery
goers will learn about installation and new media through questions and
activities that develop their understanding of exhibited works. Meet at the
Images Festival (401 Richmond Street West, Suite 448) at 1:00 PM.
Tour Stops: A Space Gallery; Gallery 44; Women’s Art Resource Centre
(WARC); Wynick/Tuck Gallery; YYZ Artists’ Outlet; Prefix Institute of Contemporary Art; Trinity Square Video; Vtape; Gallery TPW; Paul Petro Contemporary Art; Museum of Contemporary Canadian Art (MOCCA); Edward
Day Gallery; InterAccess Electronic Media Arts Centre; Mercer Union.
Thursday, April 20
Screening: 3:00 PM
This workshop is divided into two components — theoretical and practical. In the theory component students learn about the history of animation
and the NFB. After screening challenging and innovative NFB films,
students discuss animation techniques and use their analytical skills to
deconstruct meanings and messages in film.
During the practical component, students work in production teams to
brainstorm story ideas. Once they have decided on a narrative, each
student will participate in building 3D characters out of wire, plasticine,
and found objects. In the production stage students film their stories using
professional animation tools and the stop-motion animation technique.
With the guidance of professionally trained facilitators and inspiration
from the NFB’s award-winning animated film collection, the Senior 3D
Animation Workshop is an excellent addition to any arts curriculum and an
exciting out-trip for youth groups.
This workshop features exciting NFB films in addition to selections from
TAIS and the Images Festival.
Education Off Screen
An Educator’s Handbook to the 2006 Images Festival’s
Installation Projects
This map and handbook will allow you and your class to explore installation work and new media projects in Toronto’s gallery district. A brief summary of the concepts in installation art, pre-visit activities and questions to
provoke discussion while visiting the installations are included in this free
handbook. Visit www.imagesfestival.com to download your copy.
* Please see the Off Screen section (p.67-83) for exhibition descriptions
and complete details of gallery exhibitions featured in tour.
Installation Audiowalks
CD-Roms and downloadable mp3’s will be available for keen installation
art viewers who wish to explore Images Off Screen works at their own
pace. Artists discuss their work, motivations and process in this invaluable
resource for new and seasoned installation art fans. Cost for CD-Roms is
$1; downloadable mp3’s (available at www.imagesfestival.com) are free.
Images About Town
2006 Images Festival At The Toronto Public Library (789 Yonge St.)
Friday, May 5
7:00 PM
Admission: FREE
The Images Festival presents the 2006 Festival award winners during a
special free “Best of Fest” public screening at the Yonge and Bloor Toronto
Reference Library’s newly renovated Main Stage.
2006 Images Festival At The Toronto International Deaf Film And
Arts Festival (TIDFAF)
Isabel Bader Theatre (140 Charles Street West)
Screening date TBA (check the Images Festival website for details!)
Silent films from the 2006 Festival will be highlighted in a guest presentation at the inaugural TIDFAF festival at the Isabel Bader Theatre.
19
Education Program
EDUCATION
Adult workshops:
Sunday, April 16
Workshop time: 1:00 to 4:00 PM
Trinity Square Video (376-401 Richmond Street West)
Admission: $25 Trinity Square Video members / $30 non-members
Internationally exhibited artist and TSV Artist-in-Residence, Michael
Campbell, will discuss the challenges and opportunities for expanding
video beyond the single-projection. In his art practice, Campbell uses an
unusual variety of techniques and materials such as wooden sculptures,
diorama-like sets and even an Airstream trailer to activate video and explore what the medium can do to the experience of time and space. With
a look at technical and theoretically issues involved in video installation,
Campbell will discuss his own work in the context of international trends.
Participants are encouraged to prepare for the workshop by participating
in Images Festival’s Guided Walking Tour Saturday April 15, from 1 to 5
PM. Participants will be given small assignments based on installations
works in Images Off Screen in order to facilitate discussion about how
video can be incorporated into their own installation work and art practice.
Space is limited to 10 students. Contact [email protected] to
reserve a space.
Tuesday, April 18 & Thursday, April 20
Workshop time: 6-10 PM
L.I.F.T — The Liaison of Independent Filmmakers of Toronto
(171 East Liberty Street, Suite 301)
Admission: $70 for members / $85 for non-members
Workshop fee includes materials.
Internationally renowned experimental filmmaker Nicky Hamlyn will teach
this two-day evening workshop which will include hands-on instruction and group discussion of works created in the course. Students will
make a one-minute in-camera piece that is based on a single object,
space or point of view. The workshop also includes a brief presentation
of of Hamlyn’s work as well as a full Bolex camera introduction. Contact
[email protected] to reserve a space.
20
The Witnessed City: A Production Residency
at Charles Street Video
Screening time: Thursday, April 13, 8:00 PM
Images Festival and Charles Street video invited artists Nobuo Kubota
and Annette Mangaard to draw upon their experience of Toronto’s rapidly
changing urban landscape. Kubota and Mangaard have produced a 10
minute experimental collaboration, entitled Sounds Kubota Sounds, that
chronicles the history of free form sound art in Toronto from the 1960’s
through to present day. This history is told through the eyes, sounds and
memories of Nobuo Kubota who has been, and continues to be, an active
member of the sound-art community.
The resulting video of the Witnessed City residency will be screened prior
at the Opening Night Gala of the 2006 Images Festival, Thursday April
13 at the Bloor Cinema. See p.29 for details. Nobuo Kubota will also be
performing live immediately preceding Susie Ibarra and Lori Freedman in
concert Tuesday, April 18 at The Gladstone Hotel. See p.58 for details.
EDUCATION
Artist Talks
For audiences interested in more thorough dialogue about contemporary media
art, Images is hosting a series of afternoon discussions with many of the key
artists represented at the festival. Of special interest is Images’ new “Talk to
the Pie” speakers series, an unbeatable combination of totally profound cultural
discourse and FREE PIE (while it lasts). All discussion events are free to attend
and open for audience questions and comments.
Talk to the Pie #1
Friday, April 14, 3 to 5 PM
A Space (401 Richmond Street West, Suite 110)
Biography entangles the biographer. In presenting another person’s story,
does one inevitably tell a story of oneself? Dutch artist and cultural analyst
Mieke Bal (who is represented by two installations at Vtape and A Space)
in discussion with Canadian film/video artist Mike Hoolboom, creator of Images’ Opening Night feature Fascination. Moderated by Lisa Steele.
Utopia Suite with Clive Holden
Saturday, April 15, 1 to 3 PM
Camera Bar, 1028 Queen Street West
Canadian filmmaker Clive Holden (of Trains of Winnipeg fame) introduces
and presents a “virtual tour” of his new online multimedia project, Utopia
Suite. For more information see p. 85.
“Timeless” Walkthrough
Sunday, April 16, 3 to 5 PM
York Quay Gallery, Harbourfront Centre, 231 Queens Quay West
Guest curator Peter Ride (UK) conducts a walkthrough of the “Timeless”
group exhibition, with artists Chris Welsby (Canada), Rebecca Cummins
(USA) Jane Prophet (UK), Susan Collins (UK) and Suky Best (UK). For more
details about “Timeless”, see p. 72.
Talk to the Pie #2
Monday, April 17, 3 to 5 PM
Gladstone Hotel Art Bar, 1214 Queen Street West
American artist Tony Cokes (whose installations Pop Manifestos and 1! are
presented at Gallery 44 and the Gladstone Hotel Art Bar) and Canadian video
artist Steve Reinke (whose newest work The Mendi kicks off Images’ International Shorts programs on Friday, April 14) discuss advanced techniques
for recycling pop music, French philosophy, your own memories and other
post-consumer waste. Moderated by Daniel Cockburn.
Talk to the Pie #4
Wednesday, April 19, 3 to 5 PM
Three of Images’ featured installation and performance and film artists discuss the varied uses of music and sound in their multi-disciplinary practices.
Laiwan (Vancouver), John Oswald (Toronto) and Nobuo Kubota (Toronto) are
moderated by Chris Gehman.
Talk to the Pie #5
Thursday, April 20, 5 to 7 PM
Goethe-Institut, 163 King Street West
Marc Glöde (Berlin, guest curator of the “Futurisms” program to screen at
the Goethe-Institut at 7 PM) and John Bentley Mays (Toronto, curator of the
Paul Raff exhibit installed at the Goethe-Institut), discuss the historical influence of visual media on architecture and urban planning.
“Orphan Spaces: Retail/Commercial” design charette
Friday, April 21, 1 to 5 PM
Design Exchange, 234 Bay Street
In conjunction with the opening of Perte de Signal’s exhibition Cubicules,
the Design Exchange hosts the first round of the “Orphan Spaces” design
charette, led by Ian Chodikoff (Editor, Canadian Architect) with representatives from the City of Toronto and other community members and activists.
For more information about “Orphan Spaces” and Cubicules, see p. 69.
“Incidences” Artist Talk & DVD Launch
with Perte de Signal Collective
Saturday, April 22, 2 PM
Le Laboratoire d’art (BRAVO-Sud)
55 Mill Street, Cannery Buidling #58, Studio 317
Please note that this launch and artist talk will be taking place in French.
Pour de plus amples renseignements, veuillez contacter BRAVO-Sud au
416.861.1853 / [email protected].
Talk to the Pie #3
Tuesday, April 18, 3 to 5 PM
Representing different generations and sensibilities, the work of Canadian
artists Deirdre Logue (whose new video installation is presented at Paul
Petro Contemporary Art) and Vincent Grenier (subject of this year’s Canadian
Spotlight retrospective) may seem to have little in common. Will an in-depth
discussion reveal hidden affinities? Moderated by Michael Zryd.
21
AWARDS
Images Prize: Presented by the Images Festival and sponsored by
NOW Magazine on the occasion of their 25th anniversary, this is
our grand prize, awarded in recognition of the Best Canadian Media
Artwork in the festival. The recipient receives a $500 cash prize.
National Film Board of Canada Award: This prize is awarded by
the NFB to the Best Emerging Canadian Film or Video Maker in the
festival. The winner receives $5,000 in services through the NFB
Filmmaker Assistance Program.
Best International Film Award: Presented by the Images Festival,
this award honours the strongest new international film in the festival.
Best International Video Award: Presented by the Images Festival,
this award honours the strongest new international video in the
festival.
Best Installation/New Media Award: Presented by the Images
Festival, this award honours the strongest new Canadian or international installation or new media work in the festival.
Steam Whistle Homebrew Award: Presented by Steam Whistle
Brewing, this award honours excellence and promise in a local artist.
The recipient receives a $500 cash prize.
NOW Magazine Overkill Award: Presented by NOW Magazine,
this award is given to an artist whose work approaches extremes of
incorrigibility through form and/or content, and challenges our notions
of edgy, experimental practice. The recipient receives a $200 cash
prize.
Marian McMahon Award: Presented by the Images Festival and
sponsored by Kodak Canada, Inc., this award is given to a woman
filmmaker each year, this award honours strong work in autobiography, the complexity of “subject” and the spirit of Marian McMahon.
The recipient is invited to attend the Independent Imaging filmmaking
retreat, held every each June in Mount Forest, Ontario facilitated by
Philip Hoffman.
22
York University Award for Best Student Film: Presented by York
University’s Department of Film and Video, the recipient receives a $300
cash award generously donated by the Department of Film and Video, a
Gulf Islands Film and Television School scholarship covering tuition for
any one-week Media Intensive Program of their choice and $200 worth of
Super-8 to video transfer services from Frame Discreet. The recipient is
determined by audience vote.
Vtape Award for Best Student Video: This longstanding award is presented by Vtape, Toronto’s video art distributor, and includes a $300 cash
prize and $200 worth of Super-8 to video transfer services from Frame
Discreet. The recipient is determined by audience vote.
Tom Berner Award: This award, sponsored by LIFT (The Liaison of Independent Filmmakers of Toronto) commemorates the late Tom Berner, who
for many years supported and nurtured Canadian filmmakers. The award
is presented annually to an individual who has provided extraordinary
support to the cause of independent filmmaking in Toronto. It is with great
pleasure that we present the 2006 Tom Berner Award to Ray Cook.
“Ray Cook is a sound genius and a film optical expert. He has been in
this industry for years and is now at Transit Audio Services. When I heard
that McClear Digital had gone bankrupt just last year, I was saddened to
think that perhaps yet another expert was gone — and gone with him
was that fabulous old school type of film person that I love to work with.
Completely hands on, nothing shakes him, calm, cool and collected”.
— Keith Cole
Join us for the 2006 Images Festival Awards Ceremony Saturday,
April 22 at 8 pm at Workman Theatre (1001 Queen Street West at
Ossington), immediately preceding the Closing Night Gala screening
of Peggy Anne Berton’s The Legend of Buck Kelly (p.49).
Shai Heredia
Ralph McKay
Andréa Picard
Marnie Fleming
Aki Onda
JURY
ON SCREEN
OFF SCREEN
Shai Heredia (Mumbai, India)
Since 2003 Shai Heredia has been Festival Director of Experimenta India,
India’s first festival for experimental cinema, and has rapidly developed
the event into a significant new venue for artists’ film and video internationally. In co-operation with Toronto’s South Asian Visual Arts Collective
(SAVAC), she has been invited to Images 2006 as a guest-curator of two
programs of Indian experimental film and video. Heredia holds an MA in
Documentary Film from Goldsmiths College, London and lives and works
in Mumbai, where she is currently teaching film studies and producing and
directing short films and videos.
Marnie Fleming (Oakville, Canada)
Marnie Fleming is a graduate of the University of British Columbia (M.A.
1981) and has worked at the Vancouver Art Gallery, Vancouver, BC and
Museum London, London, ON. Since 1991 she has been Curator of
Contemporary Art at Oakville Galleries, Oakville, ON. She has organized
approximately 100 exhibitions, interventions and outdoor projects and is
the author of numerous essays and articles on issues of photography,
installation art and media art. Currently she is preparing a traveling
exhibition entitled Is there a there, there? (2007) for the National Gallery
of Canada.
Ralph McKay (Austin TX, USA)
Ralph McKay has been a fixture of the international experimental film
community for almost thirty years, most prominently in his roles as Curator
of Exhibitions at Anthology Film Archives (1989-91), as North American
program correspondent for the International Film Festival Rotterdam, and
as Distribution Agent for both Sixpack Film and Holland Film, major distributors of European avant-garde work in North America. Most recently,
McKay was Creative Director of the Cinematexas International Short Film
Festival in Austin from 2003 to 2005.
Aki Onda (Tokyo, Japan)
Aki Onda is a an electronic musician, composer and producer, as well
as a photographer and independent curator of audio art exhibitions. He
has released six solo recordings and produced countless others, often in
collaboration with such artists as Ikue Mori, Alan Licht, Loren Conners
and Linda Sharrock. The articles and reviews he has written for Japanese
magazines such as Musee and Studio Voice have been invaluable to introducing international musicians and audio art composers in Japan, and
vice versa. Onda also attends the 2006 Images Festival as guest-curator of
an extensive series of Japanese sound and media art. (See p.59)
Andréa Picard (Toronto, Canada)
Andréa Picard is Assistant Programmer at Cinematheque Ontario, the celebrated year round screening programme of the Toronto International Film
Festival Group. She also writes a quarterly Film/Art Column for Cinema
Scope magazine and is a frequent contributor to numerous international
film, art and architecture publications. She has recently published on
Peter Hutton, Chris Marker, Peter Watkins, Ken Jacobs and Andy Warhol.
For the past four years, she has been an Advisory Board member of the
Chicago Documentary International Film Festival and, in 2006, will be
a contributing programmer to the Toronto International Film Festival’s
Wavelengths programme.
23
program calendar
Wednesday, April 12
Friday, April 14
Saturday, April 15
Sunday, April 16
Monday, April 17
7:00 PM
Bonus Screening!
Pine Flat by Sharon Lockhart:
“Beautiful mountain landscapes
and the poignant moments of
childhood”
Jackman Hall, AGO
FREE
p.27
3:00–5:00 PM
Talk to the Pie #1
Artist talk with Mike Hoolboom,
Mieke Bal and pie.
A Space
PWYC $
p.21
1:00–5:00 PM
Off Screen Gallery Openings
p.67-83
+Gallery Walking Tour
Meet at Images Office at 1:00 PM
(Suite 448, 401 Richmond)
FREE
p.19
3:00–5:00 PM
Timeless Artist Talk
With Suky Best, Susan Collins,
Rebecca Cummins, Jane
Prophet, Chris Welsby, and
curator Peter Ride.
York Quay Gallery,
Harbourfront Centre
FREE
p.21, 72-73
3:00–5:00 PM
Talk to the Pie #2
Artist talk with Tony Cokes, Steve
Reinke and pie.
The Gladstone Art Bar
PWYC $
p.21
START
Thursday, April 13
8:00 PM
Opening Night Gala:
Mike Hoolboom’s Fascination
A moving portrait of artist Colin
Campbell.
Bloor Cinema
$15/$12
p.29
10:00 PM
Images Opening Party
with DJ Isabelle Noël
The Gladstone Hotel Ballroom
$5 (free with Opening Gala ticket)
7:00 PM
International Shorts 1:
Stranger to Strangers
Cannibal philosophy, mutant
sitcoms, alien crow... (Work by
Steve Reinke, Bobby Abate and
others.)
Workman Theatre
PWYC $
p.30
7:00–10:00 PM
Paul Petro Opening
Deirdre Logue’s installation
Why Always Instead of Just
Sometimes
Paul Petro Contemporary Art
p.77
8:00–10:00 PM
Tony Cokes’ “1!”
The Gladstone Hotel Art Bar
FREE
p.71
9:00 PM
Live Images 1:
mpld
Thrift store slideshows
manipulated through decaying
projectors.
Workman Theatre
$10/$8
p.55
10:00 PM
Off Screen Launch Party
The Gladstone Hotel
FREE
3:00–5:00 PM
Artist talk with Clive Holden
& launch of his web-based
project Utopia Suite
Camera Bar
FREE
p.21, 85
5:00 PM
Willing Spirits
Films of loss, expectation and
the simple joys of others. (Work
by Sami van Ingen, Diane Bonder
and others.)
Workman Theatre
PWYC $
p.31
6:00 PM
Performance by Tammy
Forsythe
MOCCA
FREE
p.76
7:00 PM
On Earth, As It Is.
Floods in the Amazon, acrobats
in Calcutta, general panic in National Geographic. (Work by Mark
LaPore, John Price and others.)
Workman Theatre
PWYC $
p.32
9:00 PM
Live Images 2: Winnipeg
Babysitter
Manitoba public access TV
from the 70’s, with live visual
commentary by Daniel Barrow.
Workman Theatre
$10/$8
p.56
11:00 PM
Loud Meat
Jacques Derrida, Fozzy Bear, The
Qur’an... (Work by Jubal Brown,
Wael Shawky and others.)
Workman Theatre
$10/$8
p.33
24
7:00 PM
Experimenta India —
Historical Retrospective
Curated by Shai Heredia
+ Shorts from SAVAC
Workman Theatre
$10/$8
p.34
9:00 PM
Light Comes Through my
Kitchen Window
Domesticity and visions of the
everyday, transformed. (Work by
Nicky Hamlyn, Izabella PruskaOldenhof and others.)
Workman Theatre
PWYC $
p.36
10:30 PM
Live Images 3:
Light and Motion at
Wavelength
Indie music night with the
Still Camera Video Festival,
Jeremy Bailey & Deep Dark
United & dancer Aimee Dawn
plus Singing Saws Shadow
Show!
Sneaky Dee’s
PWYC $
p.57
7:00 PM
Experimenta India —
New Genres New Forms
Workman Theatre
$10/$8
p.35
9:00 PM
Rage for Order
Schubert, Zeppelin, bodies in the
river... (Work by Jayne Parker, Ken
Kobland and others.)
Workman Theatre
PWYC $
p.37
Tuesday, April 18
Wednesday, April 19
Thursday, April 20
Friday, April 21
Saturday, April 22
10:00 AM–2:00 PM
Images Youth Workshop
John Spotton Cinema
+ Screening at 3 PM
p.18
10:00 AM–2:00 PM
John Spotton Cinema
+ Screening at 3 PM
p.18
10:00 AM–2:00 PM
John Spotton Cinema
+ Screening at 3 PM
p.20
3:00-5:00 PM
Talk to the Pie #3
Artist talk with Deirdre Logue,
Vincent Grenier and pie.
PWYC $
p.21
3:00–5:00 PM
Talk to the Pie #4
Artist talk with Laiwan, John
Oswald, Nobuo Kubota and pie.
PWYC $
p.21
5:00–7:00 PM
Talk to the Pie #5
Panel discussion with John Bentley Mays and Marc Glöde.
Goethe-Institut
FREE
p.21
1:00 – 5:00 PM
Design Exchange Opening
Cubicules by Perte de Signal + DX
“Orphan Spaces” design charette.
Design Exchange
FREE
p.69
2:00 PM
Artist talk & DVD Launch
(French-language event)
Le Labo (BRAVO-SUD)
FREE/GRATUIT $
p.21, 69
7:00 PM
A Social Contract
Broken promises, or unread
fine print? (Work by Michael
Brynntrup, Shelly Silver and
others.)
Workman Theatre
PWYC $
p.38
6:00 PM–9:00 PM
Stan Douglas opening
at AGYU
Get on board the performance
bus (6:00 PM pick-up at AGO)
and ride back downtown in time
for the 9 PM screening!
p.68
7:00 PM
Futurisms: Film, Architecture,
Urbanism
Curated by Marc Glöde (Work by
Le Corbusier, Superstudio and
others.)
Goethe-Institut
PWYC $
p.44
9:00 PM
Live Images 4:
Susie Ibarra & Lori Freedman
Two jazz greats duet.
The Gladstone Hotel
$20/17
p.58
9:00 PM
S is for Student
A program of 11 outstanding
works by media arts students
from Canada and abroad.
Workman Theatre
PWYC $
p.39
11:00 PM
The Atelier National du
Manitoba presents:
Kubasa in a Glass
Public access TV, crazy ads
and perogy (pierogi) makers.
FREE
p.40
11:00 PM
Winnipeg Appreciation
Day Party
Sample Winnipeg treats and
help destroy the Burton
Cummings piñata!
The Gladstone Hotel
FREE
p.40
6:30 PM
Canadian Artist Spotlight:
Vincent Grenier
A retrospective for this outstanding Québécois filmmaker.
Jackman Hall, AGO
FREE
p.41
9:00 PM
“But It Is Not the End”: Cuban
filmmaker Nicolás Guillén
Landrián retrospective
Underappreciated compatriot of
Alea, Alvarez & Gomez.
Curated by Susan Lord
Jackman Hall, AGO
$10.10/$6
p.42
11:00 PM
Super 8 Late
Work by John Porter, Dagie
Brundert and others.
Cameron House
PWYC $
p.43
9:00 PM
Strange Flowers of Reason
Observable behaviours. Curious
paths. (Work by Guy Sherwin,
Rebecca Baron and others.)
Goethe-Institut
PWYC $
p.45
11:00 PM
Super 8 Late
Work by Helga Fanderl, Saul
Levine, Jeanne Liotta and others.
Cameron House
PWYC $
p.46
7:00 PM
Drawn Towards Danger:
Animating Violence
Curated by Jon Davies (Work by
Winsor McCay, Paul Chan and
others.)
Workman Theatre
$10/$8
p.47
9:00 PM
The Wild Ones
Arboreal invertebrates, feral children, 3D stereoscopic hysteria...
(Work by Maïa Carpenter, Zoe
Beloff and others.)
Workman Theatre
PWYC $
p.48
11:00 PM
Live Images 5:
Some Cats from Japan
Motivated paperclips, fluorescent
convulsions, ultra-sonic noise..
Vatikan
$10/$8
p.59
7:00 PM
Live Images 6:
Willy Le Maitre’s Edia
3D performance!
Workman Theatre
$10/$8
p.61
8:00 PM–8:30 PM
2006 Awards Ceremony
Workman Theatre
FREE
9:00 PM
Closing Night Gala:
The Legend of Buck Kelly by
Peggy Anne Berton
Where does a body go between
the time it goes missing and the
time it is found?
Workman Theatre
$10/$8
p.49
9:00 PM–12:00 AM
Closing Night Party
with DJ Kola
MoCCA
FREE
END
Friday, May 5
7:00 PM
Images About Town
Highlights from the Images
Festival on screen
Toronto Reference Library
FREE
p.19
25
Special Bonus Screening! Sharon Lockhart’s Pine Flat
Co-presented with Cinematheque Ontario
Wednesday, April 12
7:00 PM
Jackman Hall, Art Gallery of Ontario (317 Dundas Street West at McCaul Street)
Admission: FREE!
Pine Flat
Sharon Lockhart
USA 138 minutes 16mm 2005
Copyright Sharon Lockhart, Courtesy Gladstone Gallery, New York, Blum & Poe, Los Angeles, and Neugerriemschneider, Berlin.
“[A]n exquisitely crafted, penetrating, and intimate portrait of rural
American childhood.... Alternately ticklish, amusing, comforting, and
haunting, Pine Flat rewards the patient and open-minded viewer
with a remarkable journey through a beautiful mountain landscape
and the poignant moments of childhood” (Shari Frilot). The subject
of a Cinematheque Ontario series in 2000, Sharon Lockhart is an
internationally renowned photographer and filmmaker whose work
balances on a knife’s edge between documentary and staged event.
Lockhart’s latest, Pine Flat, comes to us fresh from its premiere at this
year’s Sundance Festival. Shot over the course of almost three years in
a small rural community in the foothills of the Sierra Nevada, the film’s
subjects are the local children, who are filmed alone or in small groups
in a series of precisely framed tableaux — no adults appear in the film!
The visual frame is often complicated by the use of off-screen sound,
and, as usual in Lockhart’s work, the degree of intervention by the filmmaker is unclear. Are the children simply carrying on as they would on
an ordinary day, or have they been instructed to perform their quotidian
activities in a particular manner? The questions raised by Pine Flat
get to the heart of cinematic representation, and Lockhart’s thoughtful
probing extends even to the film’s built-in intermission, during which
many find it hard to leave the theatre! — Chris Gehman
27
ON SCREEN
Bobby Abate’s Sylvania (p.30)
Opening Night Gala: Mike Hoolboom’s Fascination
Thursday, April 13
8:00 PM
Bloor Cinema (506 Bloor Street West)
Admission: General $15 / Student, Members, Seniors $12
ON SCREEN
Fascination
Mike Hoolboom
Canada 80 min. video 2006
“My name? I thought everybody knew. My name is Art Star.”
Colin Campbell’s death in 2001 left a hole in Toronto’s art community.
Generous, prolific and handsome, he was a pioneer in the budding field
of video art who created hilarious personae throughout his thirty-year
career: Art Star, Robin, the Woman from Malibu and Colleena. He merged
the worlds of performance art with video, creating an ongoing series of
tapes that were witty and sly — campy takes on the mirror image of
video in the age of media proliferation. He was a colleague, lover and
mentor to many of the scene’s artists; and the work of artists such as Lisa
Steele, John Greyson, Andrew J. Paterson and Tanya Mars would have
been substantially different without his presence in their lives.
It seems appropriate for Mike Hoolboom to take on the role of chronicler
of Campbell’s legacy. A longtime champion of fringe filmmaking, but also
an outsider to the video art milieu, Hoolboom brings his unique perspective to bear on his portrait of Colin Campbell. For Hoolboom, Campbell’s
death also coincides with the passing of an era, when the image itself is
imploding. We are in an era of mourning pictures, when media and death
can only represent what is lost.
This screening will be followed by the Images Festival Opening Night
Party at The Gladstone Hotel (1214 Queen Street West). Doors open at
10 PM. Admission $5 (free with Opening Gala ticket).
Mike Hoolboom will be participating in an artist talk with Mieke Bal on
Friday, April 14, 3-5 PM at A Space. See p.21 for details.
Where the intimacy of Tom, his biography of Tom Chomont, reflected the
more internal world of his subject, in Fascination Hoolboom’s take on
Campbell plays more with his public persona, and the people who made
up Campbell’s personal public. Less a biographical portrait (although
there is a life story there) than portraits of the people Colin left behind,
Hoolboom reveals the important role of perception in Campbell’s work
and life, as well as the charisma which kept his friends and audiences so
enthralled.
Fascination contains interviews and cameos with dozens of Canadian
artists whose paths crossed with Campbell’s. Combined with his customary use of appropriated footage and subjective voice-over, Hoolboom
presents us with a deeply affecting biography of a fallen star.
Mike Hoolboom (Letters from Home, Panic Bodies) has made more than
50 works since 1980, ranging from short experimental films to featurelength documentaries, winning numerous awards at Canadian and international festivals. He is the author of two books and countless articles on
experimental film, a vital figure in the organization and development of
Toronto’s experimental film community and is widely considered as one of
the most important artists of his generation.
Preceded by
Sounds Kubota Sounds
Nobuo Kubota & Annette Mangaard
Sounds Kubota Sounds is a collaborative
video that explores the history of free
form sound art in Toronto from the 1960’s
through to present day as experienced by
sound art pioneer Nobuo Kubota.
29
International Shorts Program 1: Stranger to Strangers
Friday, April 14
7:00 PM
Workman Theatre (1001 Queen Street West at Ossington)
Admission: Pay What You Can $
Exported and abandoned, dropped off and displaced, an assortment of exotic characters embody the
projected fantasies of their unlikely surroundings. Their refusal to adapt or resolve or otherwise become unambiguous affirms the impossibility — the undesirability — of belonging anywhere. Which
is just as well. Like the man said: if we could really see ourselves as others do, we would vanish.
ON SCREEN
The Mendi
Steve Reinke
Everything begins with a pig kill and concludes with a quote from EM Cioran. In between,
a vast (mis)anthropological passage mediated by the CBC, the Bee Gees, and Reinke’s own
withering, unreliable narration.
Sylvania
Bobby Abate
USA 11 min. video 2005
We visit an implanted memory and/or the home that belonged to Samantha and Darren in
Bewitched —but without a hint of those characters having existed. The elements presented
instead: spirographic mandalas, a prowling alien, a naked woman on a couch. An unshaven
cyborg looms in nebulous space. Is he the alien’s apprentice or the puppetmaster of the
scene?
Distraught Mother Reunites with Her Children
Barry Doupé
A cast of computer-generated, quasi-human smears star in a Gothic Western
about Oedipal anxiety when they aren’t careening through a hyper-modern
metropolis and babbling in German.
Embrace
Lamia Joreige
Lebanon 5 min. video silent 2004
The man extends his hand and touches her shoulder, she moves a little, but doesn’t recoil.
She sways, she’s going to fall, she would like to die, but not here. Our encounter comes with
strange sounds; we watch ourselves live.
Imported Crows
Goran Devic
Croatia 18 min. video 2004
The citizens of Sisak, Croatia air their opinions on an invasive species of crow that has
become plentiful in their town. Their alternately bizarre and chilling remarks reflect public
opinion on things different and difficult to recognize.
30
International Shorts Program 2: Willing Spirits
Saturday, April 15
5:00 PM
Films of loss, expectation, and the simple joys of other people.
willing spirits
John Creson & Adam Rosen
A delicate abstract video of light
manipulated into short capsules of
motion.
Short Sentences
Francesco Gagliardi
Italy/Canada 30 min. video 19932005
“Press play on the tape recorder and
read one short sentence to the camera”. Gagliardi edited together twelve
years of these collected moments into
this hypnotic video. The low-fidelity
of the Super 8 film and the individual
details of each portrait accumulate
into a moving survey of Gagliardi’s
friendships and chance meetings over
a dozen years.
Ashes
Dianne Ouellette
“Not so long ago my uncle told me
the secret of life; shortly thereafter he
had a massive heart attack and died.”
Ouellete’s moving film is a tribute to her
grandfather, who lost both his wife and
youngest son in a span of three years.
ON SCREEN
I Remember Now, We Never
Danced, I Miss You, Goodbye
Diane Bonder
USA 8 min. 16mm 2006
Bonder’s latest weaves together a
centripetal spin of dance and song.
Memories of boardwalk lullabies
during summer afternoons.
Su Naa (My Big Brother)
Helen Haig-Brown
Canada 11.5 min. video 2005
Helen Haig-Brown’s harrowing retelling of her brother’s death has a rare
emotional impact that is harnessed by
its creative re-staging. Loss, rage and
sadness are all translated through stunning imagery and a cold landscape that
reflects her pain.
Two Hummingbirds
Mary J. Daniel
The birdfeeder has long been removed
from the tree, but two hummingbirds
consistently return every evening right
before sunset. Mary Daniel waits,
expectant, for the sun to fall.
Sequent of Hanna Ave.
Sami van Ingen
Finland 4 min. 35mm scope 2006
“Produced in part during my residency
at LIFT in late 2005, The Sequent
Of Hanna Ave. is the result of my
reworking of some experimental film
practices and my enquiries into the
phenomena of the movement-illusionism in the film form. By combining
found footage, hand processing and
hi-end digital technology, I elevate
a few mundane gestures to a new
perceptible wholeness, and give some
fat fingers and a VHS-C cassette tape
all the attention, grace and drama
they deserve.” — Sami van Ingen
31
International Shorts Program 3: On Earth, As It Is.
Saturday, April 15
7:00 PM
The world, disillusioned. The view without the vista, sites without sightseeing. Geography at odds
with its own reflection and all the more exquisite for the scorn in the stare.
ON SCREEN
Mouvances
Joanna Empain
A wandering over a landscape.
Observation, but also the desire for
proximity. The scenery alternates
and metamorphoses.
You Don’t Bring Me Flowers
Michael Robinson
A collection of National Geographic landscapes from the 60’s
and 70’s, viewed straight down the
cracks in the seams. American romanticism — entitlement from sea
to shining sea — degrades into a
blinding white distress signal.
man.road.river
Marcellvs L.
Brazil 10 min. video 2004
A man. A road. A river.
32
Evergeen
Robert Todd
USA 16mm 15 min. 2005
The floral life in an urban park.
The sky shimmers on a river. Shadows and silhouettes follow the
movement of container ships in the
harbour. Nature takes its meagre
place alongside the rising din of
machinery. Birds swirl overhead.
Kolkata
Mark LaPore
USA 35 min. 16mm 2005
A portrait of Calcutta, back and
forth. Ebb and flow. Youth and
aging, poverty and opulence, decay
and vitality reflect the state of perpetual transformation in the city.
gun/play
John Price
Canada 8 min. 35mm 2006
Price’s camera peers over the
rushes like a hunter. Three
incongruent and gloriously hazy
sequences discover the malice in
the bucolic.
Loud Meat
Saturday, April 15
11:00 PM
Admission: General $10 / Students, Seniors, Members $8
Thanks to Jubal Brown for assistance with the compilation of this program.
ON SCREEN
Palinode->Great Retraction
Daniel Borins
“Many ills stem from the thoughtless transplantation of plants: critics without desires, antiquarians without reverence, students of greatness without the ability for greatness — all those types who are receptive
to weeds that are estranged from their natural mother earth and are therefore degenerate growths.”
— Daniel Borins
The Cave
Wael Shawky
Egypt/Netherlands 11 min. video 2005
“And how canst thou have patience about things about which thy understanding is not complete?”
— Surah 18:68 Kahf (The Cave), The Qur’an
Qutopoeisis
Eric Shinn
“If then or else quantum illogic illustrates precognized emergency ideal encounters with self-(dis)organizing
utopian-dystopian superpositioning, virtual (sub-sur)reality servometrics, uncertain holographic collapsing
state vectors and/or neoconstructive moiré. A neuromantic model of willpower within the collective unconscious is partially scientifically developed, then devolves into big-budget jargon poetry and power point
dotmatrix transformations. Military-industrial scenario planning as DIY psychic collage. Spin epicycles, noospheric tesseractivism, pseudo-randomnecessary spastic stochastic blind archery, amplified contingencies,
probability amplitudes, imaginary solutions for impossible worlds, panoptichronic joint vision quests over
the rainbow to pots of gold, submissive half-empty/half-full spectrum dominance, falling dominos rising to
the occasion, up or down minus the plus give or take a few.” — Eric Shinn
Uranium Womyn 238
LisaNa Macias-Red Bear
USA 8.5 min. video 2004
LisaNa Macias-Red Bear channels the anger of the earth, scoured by uranium mining and wasteful
practice. The land is screaming with rage. Can you hear it?
Life is Pornography
Jubal Brown
“Maybe I’m wrong. I don’t think so but I guess it’s possible. I’m tired. Can we just stop? Let’s stop for a minute, refrain for just a moment from the formalist skin diseases of traditional experimental film, enough of
the boner-swinging himbo hair-combing, enough exaltations from mentally feeble scat enthusiasts, enough
pronoun-fixated dictionary humpers, enough confessions of wood grain fetishists and dandelion worshippers, enough pseudo-resistance to pseudo-oppression resisting the pseudo-pigs, enough gender-damaged
sex power frock disorders, intellectual glee club masturbators, enough professional karaoke disasters,
enough even of the autistic disco that lets us jerk back and forth so wonderfully and let’s talk about our
feelings. No, let’s talk about my feelings. This video is 100% true. The nude is the pavement on the road
to Auschwitz, says poor dead Derrida. The celebration of an ideal creates the conditions that justify the
extermination of that which does not embody the ideal. I would like to examine the corruption of the human
spirit by fascist objectification of body image smut and degenerate art. I would have liked to talk about that
but let’s talk about pornography instead. Peace. Yes, I’m definitely wrong.” — Jubal Brown
33
Experimenta India at the Images Festival
Begun in Bombay in 2003, EXPERIMENTA is the first festival for experimental film and video in India. EXPERIMENTA serves
as a forum for both classic and contemporary experimental films from around the world and is also a vital showcase for relatively unknown Indian film artists. The EXPERIMENTA programs at Images trace a history of Indian personal and experimental
film, beyond Bollywood and the industrial system, and introduce a non-Western perspective on artists’ film as an alternative
to the dominant US and Eurocentric histories. Unlike the West, where experimental film is contiguous with contemporary
visual art, Indian experimental film had its origins in an ethnographic/documentary genre dominant in the socialist 1960’s.
This relationship to the moving image has slowly changed, permitting new and intrinsically Indian forms to develop. These
programs examine an evolution of Indian experimental film in context of their ethnographic origin. — Shai Heredia
Program 1: Retrospective
ON SCREEN
Sunday, April 16
7:00 PM
Admission: General $10 / Student, Seniors, Members $8
Trip
In the late 60’s and early 70’s, a small
group of radical film artists made
use of found footage, animation
and stylized montage to develop an
alternative syntax for the state funded
documentary films made through The
Films Division of India. By recontextualizing these films within a context
of experimental film ethnography, this
program celebrates the works of these
visionary filmmakers and recognizes
the only modern Indian movement
of experimentation with film form in
India. — Shai Heredia
Child on a Chessboard
Trip
Pramod Pati
4 min. 35mm 1970
A film on Bombay, using pixilation and an
abstract soundtrack to depict the evanescence of urban daily life. The quintessential
Indian experimental “city film”.
Abid
Pramod Pati
5 min. 35mm 1972
“[I]n pixilation, a moving object is shot
frame by frame, and then through clever
editing made to appear in motion. By its
nature, this movement is agile, energetic
and unpredictable, just like the pop art
movement.” — Pramod Pati
Claxplosion
Pramod Pati
2 min. 35mm 1968
An experimental family planning film (!)
using pixilation and electronic music.
And I Make Short Films
SNS Sastry
16 min. 35mm 1968
An impressionistic portrayal of short film
making by a short film maker, engaging
with the process, ideas and context of
documentary filmmaking in India at the
time — art or reality? The filmmaker’s
views alternate between the bitter and
humorous.
Explorer
Pramod Pati
4 min. 35mm 1970
A psychedelic trip through 60’s youth
culture in India. An analysis of science,
technology and modernity with abstract
references to symbols, faces and moods.
Child on a Chess Board
Vijay B. Chandra
8 min. 35mm 1979
This abstract narrative is a psycho-social
exploration of nationhood, industrial
progress and scientific development seen
through the eyes of a child.
(continued on next page)
34
Untitled Displacement Series #2
Pavitra Wickramasinghe
The act of eating transforms into a collision of arresting visual fragments.
16mm journey
Darshana Vora
UK 1 min. video 2005
A luminous collage-dance, made without
a camera.
Experimenta India Program 2:
New Genres New Forms
Monday, April 17
7:00 PM
Admission: General $10 / Student, Seniors, Members $8
As Indian filmmakers are increasingly exposed to alternative visual
forms and styles, new relationships have developed to the moving image. These path-breaking personal films are experimental ethnographic
documents of the filmmakers’ urban contexts. By exposing the complex
cultural relationship they share with the medium and process of filmmaking, these artists explore ideas around migration, gender, sexuality
and religion. This is a showcase of works of emerging Indian film artists
who have crafted a fresh personal syntax and challenge conventional
perceptions of genre and form. — Shai Heredia
ON SCREEN
Followed by: Selections from MONITOR, presented by the South Asian
Visual Arts Collective, curated by Jane Kim. MONITOR is SAVAC’s annual
showcase of short film and video works by South Asian artists. The
diasporic artists in this collection represent intimate, witty and complex
notions of identity and culture, reflecting the varied approaches being
used today by film and video-makers around the world.
Death in the Garden of Paradise
Nurjahan Akhlaq
Canada/Pakistan 22 min. video 2004
An elegy to the filmmaker’s murdered
father and sister. Slow, muted images of
Lahore’s landscapes, people and architecture emerge from Akhlaq’s journey home.
Solid Objects
Darshana Vora
Space, movement and light are explored in
the act of paper-cutting.
THIS or THAT? Or NEITHER?
Kriti Arora
France 5 min. video 2005
Arora uses images to reflect her cloth merchant great grandfather and her family’s
experience during partition in a rhythmic
study of light and motion.
Happily Never After
Jaishri Abichandani
A fortune-telling robot from the street
fairs in India offers relationship advice
based on unorthodox interpretations of the
legends of female saints.
A Short Season
Ashim Ahluwalia
30 min. 16mm 2000
A portrait of an 87 year-old man and the
city in which he lives. The stark narrative extricates relationships of memory
vs. history, indoors vs. outdoors, country
vs. city, private vs. public, fiction vs.
document.
Kshya Tra Gya
Amit Dutta
22 min. 35mm 2004
A boy (who is also an old man) tries to
tell a story. The tale is told using incamera special effects with a rhythmic
structure. Mythological references have
been used as puns, some of the stories
are from Milord Pavic’s Dictionary of
the Khazars.
BOMgAY
Riyad Wadia
12 min. video 1996
BOMgAY brings to life the acerbic
poetry of R. Raj Rao, and challenges the
oppressive posture of section 377 of
the Indian Penal Code that criminalizes
homosexuality.
Antaral / Endnote
Ashish Avikunthak
17 min. 16mm 2005
An interpretation of Samuel Beckett’s
1967 drama Come and Go. Three
women reminisce about their times
at school and rekindle old friendships.
They share a strange secret about each
other, reflecting the complex gender
dynamics in the city of Calcutta.
35
International Shorts Program 4:
Light Comes through my Kitchen Window
Sunday, April 16
9:00 PM
Beauty is not far from you. Around the home, around the yard, across
the street in the park. These are domestic portraits; the quotidian
quoted and captured.
ON SCREEN
MFDP 6/2001-8/2003
Hans Michaud
USA 7 min. double 16mm silent 2005
Michaud plays with shadows and light in this rambunctious double projection. Straying not
far from his home, Michaud sees possibilities in the everyday moments of his neighborhood.
fugitive l(i)ght
Izabella Pruska-Oldenhof
Inspired by Loïe Fuller’s enigmatic Serpentine Dance of the 1890’s, Pruska-Oldenhof reworks
old Edison era dance footage, emphasizing “the rhythmic structures over and above representation, by drawing the viewer’s gaze into a maze of multiple folds of coloured patterns;
always moving, changing, shifting, while luring the gaze into where no-thing is but sheer
energy of movement.”
Object Studies
Nicky Hamlyn
UK 17 min. 16mm silent 2005
Hamlyn explores his surroundings during a stay in southern Italy. The quality of light there
allows him to base his film on the hues of the colour temperature scale while exploring the
depth of the image in his characteristically thoughtful way.
Evening Star (Estrela da Tarde)
Madalena Miranda
Portugal 25 min. video 2004
It is International Women’s Day and a Portuguese housewife does her rounds. A spring cleaning for a new year, thirty years after fascism was overthrown in Portugal — a coup triggered
by a song. Ties are ironed, portraits are dusted and the memory of romance — whether
inspired by Che Guevara or poet Ary dos Santos — still remains. “I awaited you, you didn’t
come. You lingered and I grew late.”
Hernaford Rd. or the Distance to Sleep
Rachel Echenberg
“Two cameras and my young daughter are strapped to my body as I walk down a wooded
path. This split screen video shows the simultaneous points of view of the path in front of
me and my child’s face. The video is structured around the time, space and movement of the
child falling asleep.” — Rachel Echenberg
36
International Shorts Program 5: Rage for Order
Monday, April 17
9:00 PM
A program dense with references to the rarefied, nosebleed stratosphere of European high culture —
Ottoman architecture and formalist poetry, classical myth and orchestral music — unravels amidst
the inverted pathetic fallacy of a blossoming, eternal high summer. The fruits of the Old World’s less
venerable aspirations are, inevitably, never far from underfoot.
ON SCREEN
Ariadne
Barbara Meter
The Netherlands 12 min. 35mm 2004
A spool of thread is passed from maiden to suitor. After he has killed the Minotaur... the
tension of weaving, plots and escapes, builds inside densely textured imagery of a spinning
wheel and its mysterious operator. Sounds of transit: trains, ships and cars, threaded into a
Schubert aria.
Ideas of Order in Cinque Terre
Ken Kobland
Cinque Terre, a string of towns along the North Italian coast, is listed as a UNESCO World
Heritage Site because of the incredible way people have inhabited its landscape; a geometry
clustered on rocks. Of particular interest is the train line that runs directly along the edge
of the water, passing like a needle and thread through the mountains. Line and tones (both
sound and colour) convey the abstract power of the place.
Ein Sommer in Deutschland
Ichiro Sueoka
Japan 7 min. 16mm 2005
The most recent in a series of films Sueoka has made by reprinting the amateur films of
an anonymous Japanese diplomat stationed in Berlin in the early 1930’s. The original film
attempts an idyllic depiction of a summer spent abroad; its re-presentation is an artifact of
pre-war life in Germany and, in the gloomy indication of the coming autumn, a hint at darker
days to come.
Stationary Music
Jayne Parker
The film takes its name from the first movement of Stefan Wolpe’s “Sonata 1”, composed in
1925. It is introduced and performed by his daughter, pianist Katharina Wolpe.
Stationary Music: music that doesn’t develop. Music that stands still.
The Bridge at the Drina
Xavier Lukomski
Belgium 18 min. 35mm scope 2005
The novel Bridge Across the Drina (1945) by Nobel laureate Ivo Andric describes the long,
turbulent history of the region around a famous Ottoman-era bridge near the Bosnian city of
Visegrad. The grandeur of the bridge and the tragedy of its people: as Andric wrote, “the two
are so intertwined that they could not be told as two separate stories.”
37
International Shorts Program 6: A Social Contract
Tuesday, April 18
7:00 PM
How do you separate from your surroundings, either collectively or individually, to stake a claim in a
constructive future? These films and video feature characters aiming at just that. Attempts to shake
free the thick impasto of hegemonic depression, to move past restraints of order and requirement, to
rebel quietly or even with a wink towards the unceasing gaze.
ON SCREEN
Geneva
Augustin Gimel
France 6 min. video 2004
Norman Jewison’s Rollerball is resequenced into a brutal critique of alienation in the face of
the impersonal nature of economic concerns.
What I’m Looking For
Shelly Silver
“A woman sets out to photograph moments of intimacy. On an internet dating site she
writes: ‘I’m looking for people who would like to be photographed in public revealing
something of themselves...’ What I’m Looking For documents the connections formed at
this intersection between virtual and actual public space. The video is a rumination on the
nature of photography and the persistence of vision. It is a short tale of desire and control.”
— Shelly Silver
Peripheral Stories
Hala ElKoussy
Egypt 28 min. video 2005
The central mode of travel in this video is the Cairene minibus, the ubiquitous mode of
transport for long and short hauls. In these buses, Cairenes of all classes and lifestyles pile
in, sharing brief moments together as they circle the city centre on the perilous city streets.
ElKoussy brings us the stories of some of these passengers — passengers separated less by
economic standing than by their marginal relation to the guiding forces of their country.
Blue Box Blues
Michael Brynntrup
Germany 7.5 min. video 2004
Brynntrup documents the intensity of a photo shoot. Permission is granted. Power asserted.
The ebb and flow of the lens before and after the snap.
Making Pictures
John Price
Accompanying Edward Burtynsky, Peter Mettler and Jennifer Baichwal on their film tour up
the Yangtze River to the Three Gorges Dam, John Price quietly took Super 8 footage of his
surroundings in lulls between shooting. Now blown-up to 35mm, Price’s film plays gorgeously
with scale, as small format becomes enlarged in an environment where the individual seems
lost against the size of nature and the rush of human progress.
38
S Is for Student Curated by Krista Davis, Kim Jackson and Nicolas Pereda
Tuesday, April 18
9:00 PM
Intermittent Recognition
Beatrix Moersch and Eric Hill
(University of Regina)
A captivating, off synch love story
conveyed through an exploration of
intermittent motion.
The Perfect
Gillian Turnham (Nova Scotia
College of Art and Design)
On a quest to be perfect a young
woman finds herself caught in the
‘anywhere-but-here’ mentality, giving
eloquent descriptions of the people
she’d rather be, places she isn’t at,
and things she doesn’t do.
Weather Report
Laurie Hill (Royal College of Art)
Digitally slivered reporters give a
cacaphonous media onslaught of the
years’ weather.
Blue-up
Jorge Lorenzo
(San Francisco Art Institute)
The films of Antonionni and Jarman
are evoked in this entrancing personal
story, using only black and blue.
Approximately Stable
Tejpal S. Ajji (Sheridan College)
Attempting to live out a childhood
fantasy of walking on the ceiling
poses particular challenges for this
protester of gravity.
Market Street
Tomonari Nishikawa
(San Francisco Art Institute)
A dizzying and unique portrait of Market
Street, San Francisco emerges from an
architectural study of its buildings and
signs.
ON SCREEN
Pinochet’s Women
Eduardo Menz
(Concordia University)
This hypnotizing video evokes the horrors of the Chilean dictatorship, while
questioning conceptions of beauty
and conveying the suffering of female
victims of torture during Pinochet’s
regime.
I Don’t Feel Safe Around You
Armen K. Kanian
(Concordia University)
A humourous animation that pokes fun
at the simplistic media coverage of
international politics.
Turn-Offs
SR Palm
(Ontario College of Art & Design)
A cheeky back-seat rant-cum-culturecritique delivered by an inebriated
anti-hero.
You Are German?
Mirko Martin
(California Institute of the Arts)
Morocco/USA 10.5 min. video 2004
European tourists cruising a busy Marrakesh street are prey to the incisive
gaze of some Moroccan spectators.
Oh! This Could Go On Forever
Jean Alexander Frater
(School of the Art Institute of
Chicago)
5 min. USA video 2005
An enchanting, poetic meditation made
through a sheet of dancing paper.
Join us after the screening for the Winnipeg Appreciation Day Party
and L’Atelier du Manitoba’s special program Kubasa in a Glass at
The Gladstone Hotel. See p.40 for details.
39
Kubasa in a Glass
A Curation-Collage of Winnipeg National Cinema by
L’Atelier National du Manitoba
Tuesday, April 18
11:00 pm
The Gladstone Hotel Art Bar (1214 Queen Street West)
ON SCREEN
Winnipeg is an Ephemeral City. A Disposable City. It is not a City of Love or of Light. It is a
Grozny, a Vladivostok, a Tashkent-of-a-City, doomed to defeat, forgetfulness and extinction.
Only the citizens of “Canada” might remember Winnipeg. And if they do, it will be a vague
disdainful wisp of memory; something about winter and insects. But the worst injury of all
comes from those who actually live in Winnipeg. Their hatred for this city — manifested
variously in murder, glue-sniffing and downtown beautification projects — can assure that
there will be no Winnipeg left for posterity.
For the cinéastes of Winnipeg, this vanishing city has become something of a fetish object,
the cinematic negotiation of which has generated a staunchly regional — indeed, national
— cinema. The most notorious example of this phenomenon would of course be Guy
Maddin. Maddin’s visual and thematic denigration of Winnipeg alerts us to the two central
tropes of Winnipeg national cinema: demean and destroy.
But the purest form of Winnipeg cinema is the disposable filmmaking of the city’s televisual
ephemera. Like Winnipeg itself, the TV Commercial and the daily weather report is morbidly
aware of its limited life span. This consciousness of being born only to be swiftly annihilated and forgotten is the metaphor in which we may identify Winnipeg society. Furthermore,
the ATELIER NATIONAL DU MANITOBA contends that Winnipeg ephemera from the 1980’s
will soon rival the cult hegemony of Rick Prelinger’s 1950’s and Matt McCormick’s 1970’s.
Telle est l’épopée de la nation ouinipégoise, et telle est notre lutte collective ! Une lutte
pour la destruction totale de notre civilisation bien-aimée! La sagesse se trouve dans la
réduction.
On the basis of this indignant polemic, the ATELIER NATIONAL DU MANITOBA has
designed a program in order to introduce the uninitiated film-goer to Winnipeg National
Cinema and brood feverishly upon its deeper meanings. The program will explore the
themes of degradation, disposal and destruction as it pertains to the televisual ephemera
and national identity of Winnipeg.
Toronto will feel Winnipeg’s pain. And Toronto will laugh.
— Matthew Rankin/Walter Forsberg
Images presents, in conjunction with the above event: The Winnipeg Appreciation
Day Party (featuring an assortment of Winnipeg snacks and door prizes, plus a Burton
Cummings piñata) Tuesday, April 18, 11:00 PM at The Gladstone Hotel Ballroom, 1214
Queen Street West. FREE!
40
A Sort of Homecoming:
Canadian Images Spotlight on Vincent Grenier
Wednesday, April 19
6:30 PM
Jackman Hall, Art Gallery of Ontario (317 Dundas Street West)
Admisssion: FREE
Intérieur Interiors (to A.K.)
Canada/US 15 min.
16mm silent 1978
Grenier guides the viewer around an
indeterminate space, creating perceptual shifts with simple changes of
light and dark, focus and position. The
depth of his apartment is reduced to
a two-dimensional image, one that he
expertly manipulates into a puzzling
visual display.
Catch
Canada/US 5 min. 16mm silent
1975
Rapidly cut, Grenier attempts to catch
the fleeting reflections of light across
the many surfaces in his apartment.
Here
Canada/US 7 min. video 2002
A boy’s phantasmagoric world of
heroes is captured in layers of light
and hues. This video humorously
and poetically juggles ideas about
make-believe and representation of
the everyday.
Time’s Wake (once removed)
Canada/US 14 min.
16mm silent 1977/87
Grenier re-explores footage shot at
his family’s Ile d’Orléans home over
the course of many years. Reflections
in windows and multiple exposures
create double images that replicate
the passing memories of time.
ON SCREEN
The Images Festival 2006 Canadian Spotlight is, ironically, aimed on an artist who has spent a good portion
of his life working in the United States. Despite having made over two dozen films in the last thirty years,
Québécois artist Vincent Grenier is largely unknown in the Canadian experimental film scene, joining the ranks
of many expatriate artists who made their names abroad (notably Michael Snow and Joyce Weiland). In his
absence, Grenier’s body of work has accumulated into a sort of foreign reserve held in cinematic ingenuity,
one which takes a consistent delight in confronting our habits of how and what we see. It is time for a sort of
homecoming, in the guise of this small retrospective.
World in Focus
Canada/US 20 min. 16mm silent 1976
A play on dimensionality. The screen
becomes the two-dimensional support
of an amazingly versatile three-dimensional object (the Atlas) which contains
in turn two-dimensional pictures of
other three-dimensional objects. The
film inventories and builds both on a
number of camera/book affinities and
the on ramifications of the resulting
deconstruction of the book’s language.
Surface Tension #2
Canada/US 4 min. 16mm silent 1995
This film was partly shot in Kinemacolor,
a process that was used in 1915 to
obtain illusionistic colors from black and
white films by filming and projecting
them through synchronized red and
green filters.
Tabula Rasa
Canada/US 7.5 min. video 2004
Filmed in a South Bronx high school,
Tabula Rasa explores the ambiguousness of appearances cultivated by institutions, the clues that tell the history of
objects, colours, textures, architecture
and, ultimately, psychological states.
41
“But it is not the end”: The Experimental Ethnography
of Nicolás Guillén Landrián
Curated by Susan Lord
Wednesday, April 19
9:00 PM
Jackman Hall, Art Gallery of Ontario (317 Dundas Street West)
Admission: General $10.10 / Images and Cinematheque Members $6
ON SCREEN
Nicolás Guillén Landrián (“Nicolasito”) — nephew of the great Cuban national poet Nicolás Guillén — joined
the ICAIC (The Cuban Film Institute) in 1961 as production assistant to Manuel Octavio Gómez and worked
on Gómez’s poetic documentary, A History of a Battle. Working thereafter alongside Sara Gómez, Santiago
Alverez, Juan C. Tabio and members of the Grupo Sonido Experimental (the Experimental Sound Group), Nicolasito when on to make some of the most formally inventive and socially insightful films of the first decade of
ICAIC. He was trained as a visual artist and deeply informed by Cuban conceptual photography and the experimentalism of ICAIC; and in films such as From Havana, 1969, we can see his connections to the montage and
emulsion experiments of his American counterparts. Like Sara Gómez, Nicolasito was deeply interested in the
contradictions between the Revolution’s dreams and the geographical and social margins. He was also always
oriented to tender work of being and, thus, toward death. The tension between the political and the ontological
drove his productions — from the framing and reframing of the look to the sound-image experiments that connect his subjects to a world of spiritualism and revolutionary commitment. This program contains a cross-section of his work, from the ethnographic to the wildly experimental. Nicolás Guillén Landrián died in Miami 22
July 2002. He was 65 years old. — Susan Lord
Desde la Habana ¡1969!/From
Havana, 1969
Cuba 18 min. 35mm B&W 1972
Ociel de Toa/Ociel of Toa
En un barrio Viejo/In an Old
Neighborhood
Coffea arábiga/Arabiga Coffee
Reportaje/Report
Susan Lord is Associate Professor in the Departments of
Film Studies and Art History at Queen’s University. With
Maria Caridad Cumana, she is working on a book about
Sara Gómez and Nicolás Guillén Landrián.
Join us afterwards for Super 8 Late at The Cameron House!
See next page for details.
42
Super 8 Late: Program 1
Wednesday, April 19
11:00 PM
Cameron Public House (408 Queen Street West)
Following our inaugural Super 8 Late programs in 2005, the Images Festival again takes up residency in the
backroom of the Cameron Public House to showcase two programs of late night Super 8 films. Sticking to our
“no-video” policy, everything in these programs will be shown in glorious small-gauge Super 8 film.
ON SCREEN
Even in the space of a year, a lot has happened for Super 8: Kodachrome is officially deceased and negative
Super 8 stocks have been introduced (music video is still a driving force for Super 8 filmmaking). But it seems
like many people are still working strongly in Super 8, with new makers and projects continuing to sprout up.
In these two programs, we will be highlighting a quartet of films (marked with an *) made for Alex Rogalski’s
One Take Super 8 Event. Rogalski started this annual event in Regina six years ago. All films he comissioned
are shot on one reel and projected unedited. Amazing results appear.
This year sees an exciting range of work, including new films from Dagie Brundert, Miho Uehara, and Karen
Johannesen. We also dove into the archive to find work by notables like Martha Davis, Albert Gabriel Nigrin
and John Porter along with rarely screened films by André Pilon and Carl Brown.
Dream in Kodachrome
Twirl Girl
Brain Washing
Undivided Attention
Program 1:
Snow Search, Martha Davis Canada 3 min. 1985
Counting Cats, Counting Sheep, Dagie Brundert Germany 2 min. 2005
Dream in Kodachrome, Robert Riendeau Canada 4 min. silent 2005
*Blind Alley Augury, Daichi Saito Canada 4 min. silent 2004
nududu, Miho Uehara Japan 2 min. 2004
Snail, Yannick Koller France 4 min. silent 2001
Yubi Nobi, Miho Uehara Japan 2 min. 2004
Twirl Girl, Trish Van Huesen Canada 4 min. 2001
Brainwashing, Albert Gabriel Nigrin USA 5 min. 1987
Mine’s Bedlam, Carl Brown Canada 9 min. 1981
*near a landmark and other passed identities Alex Rogalski Canada 3 min. 2004
Light Quanta, Karen Johannesen USA 5 min. silent 2004
Down on Me, John Porter Canada 4 min. 1981
Undivided Attention, David Ellsworth USA 3 min. silent 1999
La Fin, André Pilon Canada 5 min. 1986
Dream in Kodachrome
43
Futurisms: Film, Architecture, Urbanism
Curated by Marc Glöde
Thursday, April 20
7:00 PM
Goethe-Institut (163 King Street West)
This is first of two “Futurisms” programs to be presented by Berlin-based curator Marc Glöde at the Goethe-Institut. The second program will be screened
on Thursday, April 27th at 7:00 PM, and includes more recent film and video from artists such as MVRDV, Kristin Lucas and Raphael Viñoly.
ON SCREEN
Proceeding in roughly chronological order, this series tries to present some of the historically most interesting approaches towards the idea of the future
city. Imagining the architectural future has been a topic in film for the last hundred years. The range of filmic ideas of the future has been wide, from narrative features to documentaries to experimental approaches. As this variety attests, the question of the future cannot be reduced to a pure play of fantasy.
Film is often a testing ground for what the future city could actually be: it can address questions of where cities are located, how they are built, or how
public and private spaces relate. It can also focus on the architectural possibilities of new building materials, forms, and shapes. The cinematic imagination
of the future city is a tool to explore new conceptions and perceptions of space. — Marc Glöde
Excerpts from Things to Come (1936)
and Light Space Modulator (1930)
Laszlo Moholy-Nagy
UK/Germany screened on video
10 min. total
Vincent Korda’s Things to Come offered
a very different vision of the future
than Lang’s Metropolis, to which it was
inevitably compared. The design of the film
presented a great challenges, particularly the representation of the fabulous
Everytown of the future. Some 90 seconds
of Moholy-Nagy’s set designs made the
final cut, but he was not credited. Light
Space Modulator was originally supposed
to consist of six parts, but only one part was
made. The extant film makes exemplary use
of the fade as a cinematic device, animating
photographs of a rotating light and shots of
discs, screens, mirrors and balls.
Metropolis (excerpt)
Fritz Lang
Germany screened on video 10 min. 1926
Of special interest in this excerpt from
Lang’s famous film are the references to
1920’s New York, and the similarities to
Hitler and Speer’s later architectural visions
for Berlin.
Das Wort aus Stein
German Ministry for Propaganda
Germany 35mm 10 min. 1938
One of the most successful propaganda
films of the Third Reich. Building as propaganda, architecture as manifestation of
ideology.
Architecture d’aujourdhui
Pierre Chenal and Le Corbusier
France 35mm 10 min. 1930
The great architect can’t hurry through his
newly built house fast enough. Sweeping
vertical and horizontal camera shots mimic
his gestures of striding and pushing, jumping from window to window until the landscape behind him appears to be frameless.
The final images show his vision of a glass
high-rise project in the middle of Paris.
44
Monsanto House Of the Future
Walt Disney Studios
USA 35mm 12 min. 1957
A very rare film on the fantastic Monsanto
House. A walk through the whole house
gives an idea of Disney’s vision of what
the life of a typical “future family” will
look like.
Vacancy
Matthias Müller
Germany 16mm 12 min. 1998
The texture and saturated colors of Super8 and 16mm film explore the intersection
of nostalgia, myth and reality in Brasília,
the utopian city designed by Oscar Niemeyer between 1956 and 1960.
Supersurface
Superstudio
Italy 16mm 8 min. 1972
“Life will be the only environmental art.”
A whirl of futuristic 60’s imagery overlaid
with a dizzying description of the world as
a systems network. The pace slows and
the film resolves to a sequence showing a
verdant landscape with a man and woman
sitting under a tree eating fruit.
Futuro: A New Stance for Tomorrow
Mika Taanila
Finland video 28 min. 1998
In 1968 the Finnish architect Matti Suuronen designed The Futuro, a house made
of plastic resembling a flying saucer and
reflecting 60’s-era optimism about space
travel. Taanila’s film chronicles the rise
and fall of Futuro amidst the 70’s oil crisis,
which rendered the mass manufacture of
the plastic house impossible.
International Shorts Program 7: Strange Flowers of Reason
Thursday, April 20
9:00 PM
Goethe-Institut (163 King Street West)
Observable behaviours. Curious paths. What one can see outside a window or walking amongst the crowds.
ON SCREEN
Stopping Circle
Shizuko Tabata
Japan 2 min. video 2005
A day in the park. Tabata cleverly reflects on perception. How can an object change when you see it from
a fixed angle?
Views from Home
Guy Sherwin
UK 10 min. video 1987/2005
Sherwin revisits old time-lapse footage of his home in Hackney. Looking at it from twenty years on, he
explores how light refracts the passing of time.
How Little We Know of Our Neighbors
Rebecca Baron
“An experimental documentary about Britain’s Mass Observation Movement and its relationship to contemporary issues regarding surveillance, public self-disclosure, and privacy. At its center is a look at the
multiple roles cameras have played in public space, starting in the 1880’s, when the introduction of the
hand-held camera brought photography out of the studio and into the street. Mass Observation was an
eccentric social science enterprise that used surreptitious photography to record and scrutinize people’s
behavior in public places. The film traces the history of the movement from its inception as a progressive
if naive ‘anthropology of ourselves’ in the 1930’s through its reincarnation as a civil spy unit during World
War II and its eventual emergence as a market research firm in the 1950’s. Mass Observation’s history is
echoed in a range of present-day phenomena from police surveillance to web cams to reality television
that points to ways in which our notions of privacy and self-definition have changed.” — Rebecca Baron
Island
Yuiko Matsuyama
Produced as part of her Spring residency at the Liaison of Independent Filmmakers of Toronto (LIFT),
Matsuyama’s new film pulls concrete images out of an abstract swirl. Home movie fragments and
pictures of a young girl emerge from colour and light.
Keitai Tokyo
Sandee Moore
The sudden ubiquitousness of camera-phones gives Moore a new tool for her short portrait of Japan.
45
Super 8 Late: Program 2
Thursday, April 20
11:00 PM
Cameron Public House (408 Queen Street West).
Night number two of our exciting Super 8 Late sidebar! More work from the One Take Super 8 Event as well as
gorgeous new pieces by Helga Fanderl, Karen Johannesen, Jeanne Liotta and Dominik Lange, complemented
by archival finds from Stan Brakhage, Saul Levine and Nicky Hamlyn.
ON SCREEN
All films will be shown on their original Super 8 where their true opulence shines through, unhindered by bad
video transfers.
A Brennen Soll Columbus’s Medina
La Roda
Mona Lisa
Placid Unto
46
Program 2:
*La Roda, Anne-Michèle Fortin Canada 3 min. 2004
Sound Sketch No. 5, Nicky Hamlyn UK 3 min. 1981
Berceuse-Carousel, Dominik Lange France 7 min. silent 2001
Polar Bear, Helga Fanderl USA 2 min. silent 1993
Tunnel, Helga Fanderl USA 2 min. 2000
Mona Lisa, Helga Fanderl France 3 min. silent 2000
Oscillate, Karen Johannesen USA 5 min. silent 2003
A Brennen Soll Columbusn’s Medina, Saul Levine USA 15 min. 1976-1984
*lyric for our home song, Amber Goodwyn Canada 4 min. silent 2004
Trio, Stan Brakhage USA 8 min. silent 1976
Placid Unto, Jeanne Liotta USA 7 min. silent 2003
Drawn Towards Danger: Animating Violence
Curated by Jon Davies
Friday, April 21
7:00 PM
The Little Bird of Disaster
Nick Fox-Gieg
This recording of a live video performance tells the story of a bird who
squawked of imminent catastrophes
that always seemed to come true,
until one day someone stood up to
him.
Sinking of the Lusitania
Winsor McCay
USA 12 min. 16mm 1918
This pioneering animator’s masterpiece is a dramatization of the
famed German torpedo attack on the
passenger ship Lusitania. It is also a
brazen bit of agit-prop that condemns
the Huns for “the most violent cruelty
that was ever perpetrated.”
Peace on Earth
Hugh Harman
A strange MGM Christmas short
featuring adorable woodland
creatures living in the fallen helmets
of murdered soldiers in a post-apocalyptic landscape. All of humanity has
been killed off by the war, leading
one little rodent to ask Grandpa what
“men” are.
It’s Like That
Southern Ladies’ Animation
Group (S.L.A.G.)
Australia 7 min. video 2000
Children — depicted as colourful
caged birds — speak by phone
from inside one of the mandatory
detention centres for asylum seekers
in Australia. They speak about being
held prisoner and what it might be
like outside.
ON SCREEN
Animation, always an imaginative or personal interpretive vision, is capable of depicting events unrestrained by the laws of physical time and space that govern live-action films. Especially in the depiction of traumatic events, which often have the effect of
shattering one’s very experience of the world, animation is an incredibly rich expressive form precisely due to its innate dissociation from the real. Many animated works that confront war, genocide or interpersonal strife focus on children, or use animals as
surrogates and metaphors. This adherence to an “immature” or “naive” visual or narrative style is an ideal way of loosening the
conventions around the depiction of violence, especially those of the mainstream news media. Instead these films and videos bask
in the glow of their own (deceptive) inauthenticity, playfulness and artificiality, suggesting that childish imagination might be a
more humane and thoughtful lens for representing politics and pain. — Jon Davies
Of Lives Uprooted
Pierre Marier
Children from El Salvador and Honduras
speak of the day when their lives were
shattered by an invading army and they
were forced to flee to refugee camps.
The youngest victims of the bloody
Central American conflicts of the 80’s
illustrated the film with their own gruesome drawings.
Re: The Operation
Paul Chan
“Dear Laura, I’m sorry I have not written
you sooner. I miss you and the dogs.
Love, George.” In this scathing and
hilarious hybrid of animation and Photoshopped images, members of the Bush
Administration are presented as if they
were the sexually and morally confused
infantry fighting in Iraq.
His Mother’s Voice
Dennis Tupicoff
Australia 15 min. 35mm 1996
This unbearably moving film offers two
completely different visual narratives
to illustrate a radio interview with
a mother describing the wrenching
discovery of her son’s death by a gun.
A mesmerizing work that finds a new
visual vocabulary for grief.
PSA .11 fallout
Cynthia Madansky
Part of a “collaborative series of video
art which speaks out against the
American invasion of Iraq and the act of
war.” fallout makes brilliant use
of newsreels and animated war-time
propaganda films to poetically convey
the anxiety and threat of the Bomb.
47
International Shorts Program 8: The Wild Ones
Friday, April 21
9:00 PM
Escapees from order, uncouth and undomesticated — and in 3D! Get out of your cage and revel
in their freedom, the perilous liberty of a bug or a weed or a motherless child.
ON SCREEN
Lasso
Maïa Cybelle Carpenter
An aspect of the romance of the Wild West: pure spatial motion. Our perspective
reels and fractures in a dizzying race to grasp the horizon.
Mantis Tales
Chu-Li Shewring
Malaysia 13 min. video 2004
The Malaysian rain forest. Civilization is audible only at the beginning, and only a
mantis seems to hear. Shewring shot the film alone in the jungle; her experience is
conveyed as both enchanting and sinister.
Wild Boy
Guy Ben-Ner
Israel 17 min. video 2004
The artist and his four year-old son re-enact the archetypal narrative of a feral child
and his education. A genuine kitchen sink drama told with the delicate humour of
classic silent cinema.
Charming Augustine
Zoe Beloff
USA 41 min. 3D 16mm 2005
Augustine was the most famous and extensively photographed of the young “hysteric” women at the asylum of the Salpêtrière in Paris in the 1870’s. Beloff’s new
stereoscopic film about Augustine, which includes archival material, explores the
intersection of motion studies and madness, as well as the possibility of documenting mental states photographically.
48
Closing Night Gala:
Peggy Anne Berton’s The Legend of Buck Kelly
Saturday, April 22
9:00 pm
ON SCREEN
The Legend of Buck Kelly
Peggy Anne Berton
“Where does a body go between the time it goes missing and the
time it is found?”
Peggy Anne Berton has been shooting Super 8 for over twenty
years, collecting a myriad of adventures and stories along the way.
She can often be found in the back room of the Cameron House,
telling these tales to the live soundtracks of Marc St-Aubin during
Peggy Anne’s Beat Super 8 Soliloquies. Now, with The Legend of
Buck Kelly, she has woven excerpts from her collection of over 400
Super 8 rolls into a feature length video.
Berton tells the story of Buck Kelly, who one day wanders out of
Dawson City with just his guitar in his hand. This fictional character
begins to stand in for all the wayfaring strangers she has met during her nomadic travels from Toronto to New York and Dawson City,
most notably the musician Jeff Buckley. A couple of encounters
with the enigmatic Buckley—one night in a bar and later while
filming him for a documentary on the legendary Sin-é Café—are
amplified by his tragic death in the Mississippi River during the
recording of his second album. This loss leads her to think about
the other tributaries of stories in her past—the people who have
come and gone through her life.
Join us afterwards for the Images Festival Closing Party at
MOCCA (952 Queen Street West), across the street from
Workman Theatre. Doors open at 9 PM. FREE!
Berton’s beautiful cinematography revels in the intimacy of the Super 8 format. Her film is composed of momentary portraits: a tribute
to her father Pierre Berton, who took his six children on canoe trips
up the Yukon River; a cross-sectional view of the winter residents
of Dawson City; and a quiet moment with her lover in their cabin.
All the while, her poetic narration drives the stories on, musing
about the connections between these images and her ever-present
need to keep moving, to avoid settling down into one place. With
her weathered voice set against the evolving soundtracks of Marc
St-Aubin, we begin to realize that she herself is the legendary Buck
Kelly, moving on when the time is right.
Peggy Anne Berton has been shooting and exhibiting video and
film since the 1980’s. She has been an annual featured performer
at Toronto’s Splice This! Super 8 Festival and The Vancouver
Underground Film festival. She has been employed as director and
cinematographer for producers in NYC and Toronto. Peggy Anne
has collaborated with Peaches, Shary Boyle, Gene Threndyle, DJ
Richard Vermeulen and Marc St-Aubin.
Preceded by
Cupcake
Paula Jean Cowan
Canada video 2 min. 2005
Just a little icing on our cake.
49
LIVE IMAGES
Atsuhiro Ito and his Sound Optical Instrument, OPTRON (p.59)
Live Images 1: mpld
Co-presented with Pleasure Dome
Friday, April 14
9:00 PM
Lapse Phasing
mpld
Italy/USA 45 min. prepared slide projectors 2005
LIVE IMAGES
Gill Arnó’s mpld project is one of the more unusual re-appropriations of photo technology. Using two decaying
slide projectors that he prepares with stroboscopic bulbs and contact microphones, Arnó causes us to re-examine the nostalgic nature of his imagery. He collects discarded slides from thrift stores, alters each one with
masking tape and projects two at a time in a flickering rhythm. The images phase into each other, creating a
stunning, almost three dimensional visual phenomenon. Combined with the amplified and processed mechanical sounds of the projectors, Lapse Phasing draws the viewer into an almost transcendent space. The critical
notions of the day may say that photography is a step towards the grave, but Arnó’s project finds the image very
much alive, re-animated in an ecstatic visual dance.
mpld is Gill Arnò’s mixed media performance and installation project. Born in Milan (Italy), Arnò studied art and
typography before moving to NYC in 1997. He designs record covers and art directs small record labels, as well
as creating multi-dimensional environments for mixed media experimental events and parties.
preceded by
Chronomops
Tina Frank
Austria 2 min. video 2005
Mego label designer Tina Frank teams up with the musical duo
General Magic for this brief but towering inferno.
Petrolia
Emily Richardson
Petrolia portrays a fluid interaction between landscape and population, sea and machine. Filmed in time-lapse, giant oil platforms
begin to resemble organic forms and our sense of scale is gradually
eroded. Sound by Benedict Drew.
55
Live Images 2: Winnipeg Babysitter
Curated and hosted by Daniel Barrow
LIVE IMAGES
Saturday, April 15
9:00 PM
The Pollock & Pollock Gossip Show
Winnipeg Babysitter
Daniel Barrow
Canada 90 min. video presentation with projected commentary
For the past two years, Daniel Barrow has been researching, compiling
and archiving a history of independently produced television in Winnipeg, Manitoba. In the late ‘70s and throughout the ‘80’s, Winnipeg
experienced a “golden age” of public access television. Anyone with a
dream, concept or exhibitionist politic would be endowed with airtime
and professional production services. A precedent was set in the late
‘70s when the infamous Winnipeg performance artist Glen Meadmore
sat in front of a television camera and silently picked at his acne for 30
minutes each week. Winnipeg Babysitter traces this and other unique
vignettes from a brief synapse in broadcasting history when Winnipeg
cable companies were mandated to provide public access as a condition
of their broadcasting license.
Barrow will be present to provide a magic lantern commentary, tracing
the history of public access television in Manitoba, and describing the
various and outrageous biographies of cult classics (that subsequently
become urban legends when the Winnipeg public access paradigm was
axed in the ‘90s).
56
Featuring:
Survival (Greg Klymkiw & Guy Maddin, 1982-87)
Metal Inquisition (Fearless Pig and Terrible Dog, 1986)
Delirious Photoplay (Myles and Drue Langlois of the Royal
Art Lodge, 1999)
The Pollock & Pollock Gossip Show (Natalie and Ronnie Pollock,
1986-89)
And many more...
Daniel Barrow is a Winnipeg-based media artist, working in performance, video and installation. Best known and loved for his “manual”
animation technique, using mylar transparencies and an overhead
projector, Barrow has exhibited widely in Canada and abroad.
Illustrations by Daniel Barrow on exhibit at Jessica Bradley Art +
Projects (1450 Dundas Street West at Gladstone) from April 1 to 29.
Visit jessicabradleyartprojects.com for more information.
Live Images 3: Wavelength Embraces Light and Motion
Curated by Kevin Parnell
Sunday, April 16
Doors open at 9 pm
Sneaky Dee’s (431 College Street, upstairs)
LIVE IMAGES
On Sunday nights, Wavelength is Toronto’s music scene. On this particular Sunday, Images has joined Wavelength to present
three instances of clever indie sound and screen. First, Steve Kado and Jon McCurley present the second installment of the
Toronto Still Camera Video Festival, a collection of videos made using instruments not primarily designed to create movies (includes works by Katie Stelmanis, Matt King, Steve Kado, Jace and Oliver Pauk). Next up is a collaboration between
dancer Aimée Dawn Robinson and video artist Jeremy Bailey, who will produce a series of live video paintings to the wonderously cryptic music of Deep Dark United. Concluding the show will be The Singing Saw Shadow Show performing from
inside the Grand Carousel — the contraption’s fourth appearance ever! The following offers a glimpse into the world of the
Singing Saws: “sweeping melodies of sing-songs to swing slowly through sleep / saddened sacred scenery on a sanguinary
seaside seance with seersucker suits [...] a sleepwalking soliloquy, sonorous spasmodic spatial surrealists.”
Toronto Still Camera Video Festival is a juried competition of
films made exclusively on digital still cameras held twice a year.
The TSCVF was conceived by Jon McCurley and Steve Kado while
working in a computer monitor factory.
Jeremy Bailey is the creator and performer of videoPaint, a
revolutionary software environment that lets you paint anywhere,
anytime. “It’s just like painting, only much, much better.” He is
a former native of Toronto completing his MFA in video art at
Syracuse University in Syracuse NY where he is director of Spark
Contemporary Art Space and Programmer for SparkVideo, a monthly
international video art series. He is also co-founder of award-winning Toronto video collective 640 480.
Aimée Dawn Robinson is a dance artist, writer and visual artist
living in Toronto. Primarily an improviser, Aimée has collaborated
with musician/composers Martin Arnold, Jennifer Castle, Eric
Chenaux, Ryan Driver, Kurt Newman and Doug Tielli. Aimée records
and performs with the experimental band The Thorpe (with Colin
Clark and Josh Thorpe) and has composed dance scores for Seika
Boye, Tamara Cosby and herself. Aimée has had the pleasure of
dancing with Motaz Kabbani, Viv Moore and Terrill Maguire, but
most often performs solo as mother drift dances to the songs in her
head (where she does just that)..
Deep Dark United come off as a cross between Xiu Xiu, Fine
Young Cannibals at 16rpm, Frog Eyes and Charlie Haden’s Liberation Music Orchestra. Full-blown experimental soul-jazz collides
with messy synthesizers and are subsequently channeled through
the Wah Pedal and surreal dirty-uncle sense of humour of band
leader Alex Lukashevsy. DDU are what happens when music wakes
up with the happy “Why Not?” in its eyes and sets out to do everything at once. Brazenly weird AM radio pop.
The Singing Saw Shadow Show with Grand Carousel is a
15-foot-in-diameter rotating shadow show with musical accompaniment provided by seven singing saws and friends. The music
experiments with melodic folk with aspirations of ‘40s soundtracks,
self-hypnotism recordings and the sounds of beautiful rooms. The
Singing Saws are James Anderson, Shahin Etemadzadeh, Ian
Russel, Alex Molotkow, Shayna Stevenson, Samara Zotzman, Tony
Dekker and Doug Tielli. John Jowett (euphonium), Jason Baird
(drums) and Anna-Linda Sidall (cello) often support them. Although
the Singing Saws have been performing for two years, the Grand
Carousel has only been shown three times thus far.
57
Live Images 4: Étude for Solitudes
Susie Ibarra and Lori Freedman live in performance
Tuesday, April 18
9:00 PM
Gladstone Ballroom (1214 Queen Street West)
LIVE IMAGES
A musical performance to accompany the installation Duet by Vancouver artist Laiwan at YYZ Artists’ Outlet. “Étude
for Solitudes” re-unites the two musicians Laiwan originally recorded in June, 2005 as the audio and visual content of
Duet. In Susie Ibarra and Lori Freedman, it also re-unites two of the most esteemed and dynamic performers in contemDuet
porary avant-jazz and improvisational music.
Susie Ibarra is a percussionist and composer based in New
York City. She performs southeast Asian music, jazz, avant-garde,
improvised and solo concert works. She has performed with artists
such as John Zorn, Pauline Oliveros, Ikue Mori, Kavita Krishnamurti,
Wadada Leo Smith,Thurston Moore and Yo La Tengo, among others.
She currently performs solo works and as part of several ensembles
including the Susie Ibarra Trio with Jennifer Choi & Craig Taborn;
Mephista, an electro-acoustic trio with Sylvie Couvoisier & Ikue
Mori; and Electric Kulintang, Filipino trance music with Roberto Rodriguez. Ibarra has been repeatedly nominated as “Best Drummer”
by the Village Voice, Downbeat, Jazziz and The Wire.
“Even in New York’s fractious free jazz community, everyone seems
to admire Susie Ibarra. Maybe it’s because she’s so undeniably
good. Ibarra knows how to impart primal drive across a full range of
Performances by Ibarra and Freedman are featured in Laiwan’s
installation Duet: Étude for Solitudes, presented as part of Images
Off Screen at YYZ Artists’ Outlet, March 11 to April 22 . See p.83
for details.
58
tempo and dynamics, while maintaining acute attention to form and
groove.” — Thurston Moore, Index Magazine
Hailed as one of Canada’s most provocative and creative performers, clarinetist Lori Freedman is internationally recognized for
her work in contemporary, improvised, and electroacoustic music,
as well as for dance and theatre. In addition to guest appearances
with Canadian orchestras including Vancouver, CBC, Winnipeg and
Manitoba Chamber she has also performed frequently with the Ig
Henneman Tentet, the Vancouver New Music Ensemble and her
own duo Queen Mab, at venues ranging from the DuMaurier Jazz
Festival to Buddies in Bad Times.
“Musical to the bone, Freedman is an artist who is in your face and
you’re glad of it” — David Jaeger, CBC
A 10-minute free improvisational performance by Toronto-based sound
artist Nobuo Kobota precedes the Ibarra-Freedman performance. See
p.20 for details about Kubota and his work.
Live Images 5: Some Cats from Japan Curated by Aki Onda
Co-presented by the Music Gallery
Friday, April 21
11:00 PM
The Vatikan (1032 Queen Street West)
19yrs+
Special thanks to the Tokyo Performing Arts
Market and TPAM Director Yasuo Ozawa.
Audio performance
Taeji Sawai
The sounds of our multi-functional daily existence are supplied by
various information systems. Sawai explores the possibilities of a
total auditory design derived from these unconsciously experienced
sounds by mixing and amplifying them into extreme ultra- or infrasonic frequencies, confounding our usual sensory division of sound
into “waves perceptible by hearing” and “vibration perceptible
through touch.”
patterns of paperclip motion are generated by different frequencies
of the audio signal. The state of the paperclips is recorded with
a video camera and displayed in real time on a screen behind the
performer.
As a participant in portable [k]ommunity, Taeji Sawai creates
electronic art “with the use of bugs or effects like bugs produced
by large amounts of high quality data.” Sawai has also performed
with cell/66b and aeo, along with EYE from Boredoms/V∞redoms
and Kazuhiro Jo of SWQ, appearing at venues ranging from Ars
Electronica to John Zorn’s birthday party.
Optron
Atsuhiro Ito
“Whirr Extreme Optical Noise Core that consists of Anomaly Hardcore Punk approach, and the original sound optical instrument,
OPTRON, that outputs amplified noise discharged by fluorescent
lights. Thoroughly original in the respects of without using melody
playing instruments and live performance that is not gentle to the
eyes or ears either.” — Atsuhiro Ito
EM#2
Kanta Horio
A large electromagnet is connected to an audio amplifier used as
an electric power amplifier. The audio signals input into the amplifier cause a significant rise in the magnetic field. A large number
of paper clips are set under the electromagnet that is dangled
on a mic stand and audio signals actuate the paperclips. Various
LIVE IMAGES
Last year’s Live Images headliner Aki Onda returns to the festival as organizer of this special live
event, featuring three of the most urgent, inventive performers now operating in Tokyo’s notoriously agitated underground electronic art and music scene.
Kanta Horio studied acoustics and sound art at the Kyushu
Institute of Design in Fukuoka. He builds various junk gadgets
and contraptions with or without electronic devices and presents
sound/visual performances with them and a laptop computer.
Atsuhiro Ito is perhaps best known as the founder and organizer
of the Tokyo gallery/free space Off Site, a crucial venue for the
Japanese onkyo music scene. Since 1998 he has been presenting sound performances with fluorescent lighting using a musical
device of his own invention, the optron.
59
Photo by richardjohnson.ca
HIGHER EDUCATION
The Ontario College of Art & Design offers a distinct university education leading to a BFA or
BDes. Our rigorous studio program combined with a thought-provoking liberal studies curriculum
will put your imagination to work at the highest level. Working under the guidance of leading artists,
designers and scholars, you’ll find your own creative voice and learn how to express powerful ideas
in professional studio practice. Experience our new campus facilities, located in the heart of
Toronto. For more information call 416-977-6000, Ext. 489 or visit www.ocad.ca.
100 McCaul St., Toronto, Canada M5T 1W1
Live Images 6: Willy Le Maitre performs Edia
LIVE IMAGES
Saturday, April 22
7:00 PM
Edia
Willy Le Maitre
Canada 50 min. 3D video 2005
A performed stereographic video projection with multi-channel,
spacialized audio. Edia progresses through a sequence of real-time
manipulations of 3D scenes that can be viewed from an infinite
number of perspectives. Passing through spheres, clusters and volleys of data textured with panoramic video, we encounter a series
of characters and plots with an unpredictable tendency to morph
into each other and their environment.
“A stereographic visualization of being between cosmos and the
quanta. Sonic gas permeates, charged with event radiation, while
tiny vesicles form a battery of chemical messengers, conjuring
memory’s image channel. Time is revealed volumetrically to be
circular and its present vectored to every past.” — Willy Le Maitre
Preceded by:
Trilogy About Clouds
Naoyuki Tsuji
Gloomy clouds conceal mysterious
incidents, as well as some schoolchildren, a few angels and the odd
stray penis. The apparent naïveté of
the pencil animation technique belies
the film’s darker intentions.
61
OFF SCREEN
Reaction Shot by Jason Arsenault, part of Perte de Signal’s Cubicules at Design Exchange (p.69)
A Space Gallery
401 Richmond Street West, Suite 110
416 979 9633
aspacegallery.org
March 31 to April 22
(Nothing is Missing — April 15 to 22)
Opening Reception: March 31, 7 PM to 9 PM
Off Screen Reception: Saturday, April 15, 1 PM to 5 PM
Manhood
Sadegh Tirafkan
Canada 2005
Nothing is Missing
Mieke Bal
Netherlands 2004-2005
Tirafkan explores the multiple facets and constructions of contemporary
Iranian masculinity through symbols, icons and various cultural rituals.
Through video and large-scale photographic portraits, the work demonstrates virile choreographies symbolizing fraternity, combat and sacrifice.
This work challenges taboos surrounding veiling and nudity in Islamic
society and engages with history, memory, identity and gender issues.
– Pamela Edmonds, A Space Gallery
This three-channel video presents a series of interviews with mothers left
behind after their migrant children have relocated to European locations.
Four older women speak to family members with whom their relationships
have been interrupted due to the migration of the women’s children: a
grand-child she didn’t see grow up; a daughter-in-law she didn’t choose
or approve of; in one case, three generations. With no narrative voice, a
sense of intimacy and sometimes uneasiness, only the mothers do the
talking. While intensely visual, the videos show neither monumentality
nor picturesque scenery; no spectacle is offered to gratify a desire for
beauty. Instead, they engage intimately with the individuals concerned.
As such, the installation constitutes a tribute to those mothers who were
left behind, bereft of those they most cherished.
Born in Iran, Sadegh Tirafkan trained as a photographer at the University
of Fine Arts in Tehran. Since the late 1980’s, he has participated in
numerous solo exhibitions and group shows, primarily in Tehran and Paris.
Frequently using himself as a model, Tirafkan revisits and reinvents these
themes of masculinity and identity in a series of enigmatic photographs.
— Lehmann Maupin Gallery
Sadegh’s installation will also coincide with the launch of a publication
documenting his recent photographic and video based works.
OFF SCREEN
Tuesday to Friday, 11 AM to 6 PM
Saturday, 12 PM to 5 PM
Mieke Bal, a well-known cultural critic and theorist, is Academy
Professor in the Royal Netherlands Academy of Arts and Sciences, and a
professor of the Theory of Literature at the University of Amsterdam. Her
many publications include Traveling Concepts in the Humanities: A Rough
Guide (University of Toronto Press, 2002), Louise Bourgeois’ Spider: The
Architecture of Art-Writing (University of Chicago Press, 2001), Looking
In: The Art of Viewing (G&B Arts International, 2001), Quoting Caravaggio:
Contemporary Art, Preposterous History (University of Chicago Press, 1999)
and Narratology: Introduction to the Theory of Literature (University of
Toronto Press, 1997). She has also taken up documentary filmmaking and
video installation. Her areas of interest include literary theory, semiotics,
visual art, cultural studies, transcultural theory, feminist theory, French, the
Hebrew Bible, the 17th century contemporary culture, and art presentation.
67
The Art Gallery of York University
Accolade East Building
4700 Keele Street
416 736 5169
yorku.ca/agyu
April 20 to June 25
Opening Reception: Wednesday, April 19,
6 PM to 9 PM
Monday to Friday, 10 AM to 4 PM
Wednesday, 10 AM to 8 PM
Sunday, 12 PM to 5 PM
Stan Douglas: Inconsolable Memories
Stan Douglas
Canada 2005
OFF SCREEN
Inconsolable Memories is the latest in Vancouver artist Stan Douglas’
recombinant narrative projections. Basing his double-projection installation
on Cuban filmmaker Tomás Gutiérrez Alea’s film Memories of Underdevelopment (1968), Douglas updates the original film’s setting from the Bay of
Pigs era to the Mariel expulsions, while retaining Alea’s flashback structure
as well as the original film’s creative mixture of documentary and fictional
footage. One gallery will be devoted to the film installation; the other
will exhibit Douglas’ large-scale colour photographs of the re-purposed
buildings of Havana and surroundings. A catalogue with essays by Sven
Lütticken and Philip Monk is available.
Inconsolable Memories is a co-production of the Morris and Helen Belkin
Art Gallery, Vancouver and the Joslyn Art Museum, Omaha.
Born in Vancouver, British Columbia, Stan Douglas has an international
reputation for his photographs and film and video installations. After
studying at the Emily Carr College of Art in Vancouver (1979–82), he began
making films and videos reflecting on issues of culture and technology and
the relationship between popular representations of history and subjectivity. Since the late 1980’s, he has been a leader in pushing the space of
the museum toward an involvement with the projected moving image,
and in blurring the boundaries between visual art, cinema, and television.
His works have been exhibited in galleries and museums worldwide and
he has participated in a number of Biennales including the Biennale of
Sydney (1990 and 1996), the Biennale d’Art Contemporain de Lyon (1995
and 1997), the Whitney Biennial (1995), the Berlin Biennale (1998), and the
Venice Biennale (1990, 2001 and 2005). Douglas currently lives and works
in Vancouver, British Columbia.
Get on the FREE Performance Bus!
Ride the performance bus, the AGYU’s unique performance venue, to the opening reception of Stan Douglas: Inconsolable Memories
with artist, writer, and curator, LUIS JACOB! The bus leaves the AGO (corner of Dundas and McCaul St.) at 6:00 PM sharp, enroute to
the AGYU galleries where Stan Douglas and curator Philip Monk will be in conversation about Douglas’ new Cuba project. Take the
performance bus back downtown with curator Susan Lord as she primes you for “But it is not the end”: The Experimental Ethnography
of Nicolás Guillén Landrián, screening at the Cinematheque Ontario 9:00 PM (see p. 42 for details). P.S. Don’t worry, Luis will help you
learn Spanish while on the bus!
68
The Design Exchange
234 Bay Street
416 363 6121
dx.org
April 21 to May 14
Opening Reception:
Friday, April 21, 1 PM to 5 PM
Monday to Friday, 10 AM to 6 PM
Sunday to Saturday, 12 PM to 5 PM
Cubicules
Perte de Signal Collective
Canada
all works 2005
Perte de Signal is a media arts research and development centre based in
Montréal, Québec. Taking different forms - from digital disk production to
site-specific immersive installations - their projects attempt to reconsider
how digital works are presented. The non-profit organization also manages
a structure that provides professional services to its community, including
artist representation, production of artworks and events, equipment rental,
curatorship, mentorship, networking, publishing, advocacy for artist rights,
ancillary support for improving artist’s socioeconomic conditions and
promoting media arts.
The current members of Perte de Signal are:
Jason Arsenault makes installations and single-channel videos. His work
has been presented throughout Canada, Asia, Europe and Latin America.
Alexis Bellavance’s works in installation, performance and audio art.
Alexis studied at L’Université du Québec à Montréal’s École des arts
visuels et médiatiques. His work has shown throughout Canada, Europe
and Asia.
Don’t miss Perte de Signal’s launch of their new DVD
“Incidences” following an artist talk Saturday, April 22
at 2 PM at Le Laboratoire d’art (BRAVO-Sud), 55 Mill St.,
Cannery Bldg. #58, Studio 317. FREE! Please note that this
event will be taking place in French. Contact 416-861-1853
or [email protected] for details.
Myriam Bessette received a bachelor’s degree from L’Université du
Québec à Montréal’s École des arts visuels et médiatiques in 2000. Her
work includes digital audio, digital video installation and single channel
digital video. Her videos have been exhibited throughout Canada, New
Zealand and Europe.
Robin Dupuis obtained a BFA in film at Concordia University in 1997,
and a Master’s in Media Arts at the École des arts visuels et médiatiques
de Montréal (L’Université du Québec à Montréal) in 2001. His videos and
installation works have been exhibited throughout Canada, the United
States, Latin America and Europe.
Claudette Lemay received a Bachelor’s degree from L’Université du Québec à Montréal and combines studies in literature, cinema, and journalism.
Her work often combines processed images of the body with the sound of
her own voice. Her works have been exhibited throughout Canada, Latin
America and Europe.
Orphan Spaces: Retail/Commercial
Friday, April 21, 1:00 to 5:00 PM FREE
OFF SCREEN
Perte de Signal’s most recent collective project aims to rethink the spatial
disposition of video installation in relation to scale. Each artist has created
a sculpture with a video element, small enough to be packed in a standard
suitcase. Each work is a unique viewing experience and a playful solution
of how projected images can function when limited by small dimensions.
Cubicules includes new works by five of the collective’s members: Jason
Arsenault’s Reaction Shot (2005); Myriam Bessette’s Flagelles (2005);
Alexis Bellavance’s Essai diplomatique no. 2 (2005); Robin Dupuis’ Réception (2005); and Claudette Lemay’s Jardin (2005).
Design Exchange, in association with the City of Toronto’s Clean & Beautiful City,
Neighbourhood Beautification Project, will host a series of design charrettes throughout
2006. The talents of professionals, students, community members and stakeholders
will be combined to re-design a selection of Toronto’s “Orphan Spaces”. The aim of the
series is to create design solutions to reclaim and beautify these sites. “Orphan Spaces:
Retail/Commercial” is the first of these series, launched in conjunction with the opening
of Perte de Signal’s exhibition at the Images Festival. Ian Chodikoff (Editor, Canadian
Architect) will work with DX, the City of Toronto and participating teams to reinterpret
underutilized spaces throughout the city of Toronto in areas that are not currently represented by Business Improvement Areas (BIA). The charrette will open with a series of
speakers including Chodikoff, Al Rezoski (City of Toronto) and other community members
and activists. Following the speaker presentations, teams will explore their site through
visual aids and brainstorm ideas and strategies for the redesign of their Orphan Space.
Finally, each team will present their propositions to the larger group. Completed projects
will be exhibited at Design Exchange during digifest 2006: MODS (May 10-14). The winning project from will be announced at the Opening Event for digifest.
69
Edward Day Gallery
952 Queen Street West
416 921 6540
edwarddaygallery.com
April 15 to May 17
Opening Reception: Saturday, April 22, 2 PM to 4 PM
Tuesday to Thursday, 10 AM to 6 PM
Friday 10 AM to 7 PM
Saturday 10 AM to 6 PM, and Sunday 12 PM to 5 PM
Always Before After
John Oswald
Canada 2006
OFF SCREEN
As part of a solo exhibition of John Oswald’s work, Edward Day Gallery
will present a selection of his “moving stills.” In development since the
mid ‘90’s, Oswald describes this mesmerizing project as “a genre of stills
which are not quite still and movies which never move.”
In 2004, a solo show highlighting the triple-projected instandstillnessence garnered John Oswald an Untitled Arts Award prize for best Solo
Exhibition in a Private Gallery and a nomination for Artist of the Year. In
2006 Oswald will open the new Institute for Contemporary Culture at the
Royal Ontario Museum with a new solo show, and a permanently installed,
large-scale soundscape in the Spirit House atrium of the Museum. He will
be in residence at the Art Gallery of Ontario to create a new work, and will
be the resident artist at the Deep Wireless Radio Art Festival in Toronto in
May 2006.
John Oswald will be participating in the Talk to the Pie speakers
series along with sound artists Nobuo Kubota and Laiwan
Wednesday, April 19 at the Gladstone Hotel, 3 to 5 PM. See p.21
for details.
70
Goethe-Institut
163 King Street West
416 593 5257
goethe.de/toronto
March 8 to September 6
Monday to Thursday, 10 AM to 5 PM
Friday & Saturday, 10 AM to 4 PM
Urban Deconstructions
Co-curated by John Bentley Mays
Alekos Hofstetter
Holger Lippmann
Paul Raff
David Warne
Berlin artists Alekos Hofstetter and Holger Lippmann are paired with
Toronto-based architects Paul Raff and David Warne to examine urban
architecture through drawings, photographs and video installation. Observing transformations of the industrial past to the present and beyond, the
exhibition sees several Toronto buildings literally “deconstructed,” opening
new perspectives on the functionality and aesthetics of architecture within
time.
There will be a panel discussion with the artists and architects moderated
by John Bentley Mays Thursday, April 20, 5 PM to 7 PM at the Goethe-Institut (163 King Street West). (See p.21 for details)
Urban Deconstructions is complemented by an evening of film screenings:
Futurisms: Film, Architecture, Urbanism, curated by Marc Glöde (see page
44 for details)
Gallery 44 Hallway & Vitrines
416 979 3941
gallery44.org
Tuesday to Saturday, 11 AM to 5 PM
Circa 1960
Chris Curreri
Canada 2005
Pop Manifestos
Tony Cokes
USA 2003-2004
Three found snapshots of mountain ranges are punched with pinpricks along
the contours of their images. When the photographs are turned over, only the
pinpricked contours serve as references to the original images. Projected large
on the gallery wall, a short 16mm film records the slow movement of light
around one such landscape photograph. Like a diorama, the movement of the
light source causes the photographic object to transform from a piece of paper
with pinholes into an illusionary image of a mountain range.
Along with the Pop Manifestos Images also presents Cokes’ audio database
piece 1! Containing titles from his most valued 100 CDs, the recordings in 1!
are juxtaposed with excerpts from music critic/philosopher Christoph Cox’s
essay on Gilles Deleuze, experimental electronica and the limits of rock
music’s forms and ideological premises. (Friday, April 14, 8 to 10 PM at the
Gladstone Art Bar.)
The work of Tony Cokes employs appropriated media in a multi-disciplinary
and often collaborative practice in video, installation, sound and public
art. His work has been exhibited at the Museum of Modern Art, the Whitney
Museum of American Art and the Solomon R. Guggenheim Museum. He
currently teaches in the Department of Modern Culture and Media at Brown
University in Providence, Rhode Island.
memoria/memoir
Carol Flax
USA 2005/2006
memoria/memoir is an installation and interactive website, which records personal stories related by visitors through an interactive input booth. By speaking into a microphone in the booth, visitors’ stories are added to a continually
growing database of recoded memory consisting of text, audio, and visuals.
The experience is an immersive environment that the viewer both participates
in and observes, uniting the larger questions of personal memory, the way we
record and remember and the mutability of memory over time.
OFF SCREEN
During his time (1997-2000) with SWIPE (described as a “bad copy” of a pop
band), Tony Cokes developed a series of short essays about pop music which
ultimately led to a series of videotapes collectively titled Pop Manifestos:
AD Vice (1999), 2@ (2000), 3# (2001), 6^ (2001), and 5% (2001). Featuring
aggressive text animation and minimalist graphic techniques, the works
examine the myths and ideologies of popular music with subtlety, dry
humour and special attention to pop culture’s modes of consumer address.
Blurring the boundaries between critical analysis, amateur historiography
and common advertising tropes, the Pop Manifestos activate all three
discourses simultaneously. Any assessment of their operation depends heavily on context, the viewer’s prior knowledge of, and interest in, rock music.
Rereading and appropriation are thus not merely themes in Cokes’ work,
but explicitly evoked elements of their reception by viewers. The effect is
intentionally disquieting.
Chris Curreri is a Toronto-based photographer who graduated from the Image
Arts Program at Ryerson University. He has exhibited in a number of venues
including Gallery TPW and The Confederation Arts Center. He is represented
by the Edward Day Gallery and currently teaches photography at the Ontario
College of Art and Design.
Carol Flax is a multi-platform new media artist whose most recent works
explore memory, history and our relationship to the world, using various
media, technologies. Her work has been exhibited and published throughout
the world. Carol has received numerous awards and is in public and private
collections. Her current work, “memoria/memoir” is being supported by a
residency at the Banff New Media Institute at the Banff Centre. She has an
MFA from California Institute of the Arts.
71
York Quay Centre, Harbourfront Centre
235 Queens Quay West
416 973 5379
harbourfrontcentre.com
Tuesday to Thursday, 12 PM to 6 PM
Wednesday, Friday & Saturday, 12 PM to 8 PM
Sunday 12 PM to 6 PM
OFF SCREEN
Timeless — Time, Landscape & New Media
Our sense of time informs the way that we think about landscape: from
the epic to the immediate, from the expansive timeframe of geological
and botanical forces to the time of human occupancy of indigenous and
colonizing communities, even of mythological and spiritual time.
Immediacy: networked communication has become the key to modern
media. Peer-to-peer, network to network, individual to vast unknowable
online communities. Media has little individual ownership. Its value is not
in originality but in its capacity to be transmitted, sorted and re-sent.
New media technologies have provided artists with unique ways of
thinking about time and thus new ways to represent landscape. The frozen
time of photography or the evolving time of cinema is often not the core
reference point in these digital works. Instead the re-purposability of data
offers new ways to address how landscape can be considered. Just as the
lens provided ways of seeing the world that could not previously be comprehended, so too does the computer. Although digital images incorporate
some of the same dominating forms of representation, and use some of
the same framing devices as traditional photographic methods, networking and data acquisition of digital processes create a different context of
synchronicity and a-synchronicity.
Simulation: the border-line between the real and the unreal, and the natural and the un-natural, has eroded from the discourse about landscape.
Simulation is no longer an extraordinary way of representing the world,
but is fully comprehensible as a form of documentation. We easily grasp
things that are intricately fabricated, evolving from code rather than
design. Just as these landscapes are not real, they also play with time as
a fiction, re-inventing it, stretching it.
The three prevailing themes of this exhibition are Un-fixity, Immediacy and
Simulation.
Un-fixity: the database is the dominant metaphor for new media. Artifacts
are not made but comprised of existing material. As a result the existing
works re-shape and change; they are never static. These images are not
witnesses to an event, they unfold rather than appear as fixed objects.
Time is never frozen, it shuffles and moves from one zone to another.
There will be an Artist Talk with Peter Ride, Suky Best,
Susan Collins, Rebecca Cummins, Jane Prophet and
Chris Welsby at York Quay Centre, Harbourfront Centre
on Sunday, April 16, 3 to 5 PM. See p.21 for details.
72
— Peter Ride
Return of the Native
Suky Best
UK 2005
A series of short digital animations “reintroduce” formerly indigenous
insect and bird life to the contemporary agricultural landscape of the East
Anglian Fenland. Highlighting extinct or endangered species, the stylized
nature of each composition elicits a haunting and disquieting sense of loss.
Glenlandia
Susan Collins
UK 2004
With one pixel updated every second, Glenlandia rebuilds a live image
from rural Scotland over a 24-hour period. Collins’ work also observes the
relationship between landscape and technology as she portrays the man
made Loch Faskally as a quintessentially “natural” Scottish locale.
Glenlandia was co-commissioned by Film and Video Umbrella and Horsecross; supported by FRS Freshwater Laboratory.
Working in collaboration with an astrophysicist at the University of
Washington, Rebecca Cummins reflects on the photographic and spatial
measurement of time by using the earliest time-measuring technology: the
sundial. With her own body as gnomon, Cummins’ measures how modern
timekeeping devices have altered the way we conceptualize time.
30km
Simon Faithfull
UK/Germany 2003
30km documents the flight taken by a meteorological balloon as it ascends
from the earth. Tracking the journey until the curvature of the earth can be
detected, the video stream follows the balloon to the edge of space where
it explodes from the change in atmospheric pressure.
Decoy
Jane Prophet
UK 2001
Prophet’s screen-based digital work reflects the politics of landscape,
construction and ownership. Drawing on works by painters such as
Gainsborough and Poussin as well as the creations of landscape designers
Humphry Repton and “Capability” Brown, Prophet’s animated digital
“paintings” combine fractal landscapes with photographic images of the
grounds of various country homes. Prophet unearths the artificiality of each
landscape’s past; either by returning the setting to a closer approximation
of “wild” nature, or by allowing the viewer to project ahead into the future
according to different growth and planting patterns.
Machine for Taking Time
David Rokeby
Canada 2001
Machine for Taking Time is included in this exhibition as a central
conceptual piece and was commissioned and first shown by the Oakville
Galleries in 2001. With images drawn from a database archive, Rokeby’s
work shows a continuous pan across the gallery gardens. Slowly traveling
through the archive of images, the computer software wanders through
time as it jumps from the recent past to months previous.
Trees in Winter
Chris Welsby
Canada 2006
Trees in Winter presents three separate takes of a tree shot against the
background of stormy winter skies. The wind chafes at the few remaining
dead leaves and the branches shake. In the gallery the projected image
is edited live, with sequential decisions determined by measurements of
wind conditions outside the gallery taken by an anemometer. Technical
production by Mark Brady.
Since 2001, Suky Best has had solo shows at venues including The Photographers’ Gallery London, The Centre for Photography Amsterdam, Street Level
Gallery, Glasgow and The British Council Gallery in Ecuador, as well as participating in major group shows in New York, San Francisco, Berlin, Cologne and
Slovenia. She lives and works in London.
Susan Collins works across a range of media, exhibiting widely nationally
and internationally, often in public and site-specific locations. Recent works
mainly employ transmission, networking and time as primary materials, often
exploring the role of illusion or belief in their construction and interpretation.
Collins is Head of Electronic Media at the Slade School of Fine Art, University
College London.
Rebecca Cummins’ body of work over the last decade has explored the
sculptural and experiential possibilities of light and natural phenomena (often
referencing the history of optics). Her creations include a camera obscura/
fiber-optic journey through the center of the earth, paranoid dinner-table
devices, an interactive computer/video rifle, a periscope birdbath and a singing rainbow machine. Cummins is Associate Professor at the School of Art,
University of Washington.
Simon Faithfull was born in Ipsden, Oxfordshire and studied art at Central
St Martins and then Reading University. His practice takes a variety of forms
— ranging from video making, to digital drawing projects and installation
work. He is based in Berlin.
Jane Prophet’s works include large-scale installations, digital prints and
objects, reflecting her interest in science, technology and landscape. Among
her past projects is the award-winning website, TechnoSphere (1995-2001)
inspired by complexity theory, landscape and artificial life. Site-specific
projects include Conductor (2000) which involved 74 tonnes of water and 120
electro luminescent cables and The Landscape Room (2001), which combined
photographs with computer-simulated landscapes.
David Rokeby is based in Toronto, Canada. He has won numerous prestigious awards including: the British Academy for Film and Television Arts
(BAFTA) award for Interactive Art (2000); the Prix Ars Electronica (1991 and
1997); the Golden Nica (2002) and the Canadian Governor General’s Award in
Visual and Media Arts (2002). In 2004 he represented Canada at the Sao Paulo
Bienniale in Brazil.
Chris Welsby has been making and exhibiting work since 1969. His films and
film/video installations have been exhibited internationally, at major galleries
including: the Tate and Hayward galleries in London; the Musée du Louvre and
the Centre Georges Pompidou in Paris; the Museum of Modern Art in New
York; the Carnegie Institute in Pittsburgh; and the Art Gallery of Ontario in
Toronto.
OFF SCREEN
Another Light
Rebecca Cummins
USA 2006
Peter Ride is Co-Director & Senior Research Fellow at the Centre for Arts
Research Technology and Education (CARTE), University of Westminster. His
emphasis is on research into the field of digital media arts and interdisciplinary arts practice. He was one of the first curators in the UK to develop internet
and digitally networked arts projects. He is also Artistic Director of DA2,
Digital Arts Development Agency, an organization that develops commissions, artist residencies and curatorial training schemes. His current research
projects include “Cell”, an investigation of new theories of adult stem cell
development, being developed in collaboration with medical and computer
scientists and visual artists.
73
Gallery TPW
80 Spadina Avenue, Suite 310
416 504 4242
photobasedart.ca
Co-presented with New Media Scotland
April 6 to April 29
Opening Reception: Thursday, April 6,
6 PM to 9 PM
Off Screen Reception: Saturday, April 15,
1 PM to 5 PM
Tuesday to Saturday, 12 PM to 5 PM
One Revolution Per Minute
Calum Stirling
Scotland 2004-2005
OFF SCREEN
Combining DIY aesthetics and high and low-end technologies, Calum Stirling magnifies the miniature in two recent sound-based sculptural installations. In Tectonic Plates, Stirling explores the microgeography of the vinyl
record. Providing access to an otherwise out-of-bounds landscape, the
piece uses a computer-generated model to allow viewers the opportunity
to travel along the grooves of a record. In Stirling’s Outopia, the diorama
of a modernist city sets the stage for exploring the boundaries of urban
planning. Through the use of architectural models and real-time video
projection, we are able to explore the streets of a miniature city complete
with railway buildings, public artworks and architectural features.
74
Calum Stirling currently lives and works in Glasgow, UK. Much of his
work is concerned with the relations between the technology of sound
recording and sculptural form. Widely exhibited, Stirling has previously
shown work at the Generali Foundation in Vienna, Transmediale in Berlin,
The National Gallery of Australia, The Design Museum in London and the
Centre for Contemporary Art in Glasgow.
April 13 to May 6
Opening Reception:
Saturday, April 15, 2 PM
Tuesday to Saturday,
12 PM to 5 PM
Women’s Art Resource
Centre (WARC)
401 Richmond Street
West, Suite 122
416 977 0097
warc.net
April 13 to April 22
Off Screen Reception:
Saturday, April 15, 1 PM to 5 PM
Sunday, April 16, 12 PM to 5 PM
KODAMA
Hisako Yamakawa
Japan 2005
Son Image
Alison Chung-Yan
Canada 2005
“KODAMA (tree spirits of Japanese folklore) come alive within the gallery.
A large-scale video projection presents viewers with a lush green forest
where KODAMA sit hiding, listening quietly for voices. Max/MSP software
enables viewers to interact with the piece; by monitoring the audience,
the forest appears to “collect” their voices by converting sound waves into
images reminiscent of large air bubbles. Drawing attention to the tactility
of sound, Yamakawa considers the role of the voice from a spatial perspective by providing it a physical presence.
An interactive sound and video installation, the multiple layers of Son
Image are continually revealed through audience interaction. Controlled
by viewers entering and exiting the gallery, video and sound fragments
emphasize similar rhythms found within nature and the environment. From
the changing seasons to the rotation of the planets, Son Image serves as a
metaphor for our connection to the larger rhythms of the Universe. It also
affirms the capacity for our presence and actions to shape our existence
and the construction of its meaning.
Human voices are invisible and easy to forget, yet I often have the feeling
that voices are tactile and occupy a certain space that I want to artistically
represent as various volumes or solid shapes. I created KODAMA to demonstrate my sensation of solidified human voices in conversation.
This work enables me to demonstrate to an audience the existence of
“voice” as a physical object and how it floats through space.”
— Hisako Yamakawa
Alison Chung-Yan is an Ottawa-based media artist and composer. Her
works have been exhibited at the Images Festival (Toronto), National Arts
Centre (Ottawa), Oscar Peterson Hall (Montreal), Java Museum for Internet
Technologies in Contemporary Art (Germany), La Casa Encendida (Spain),
Island Art Film and Video Festival (UK), and the 2004 Biennale of Electronic
Art (Australia). She is a lecturer in the Faculty of Music at Carleton University where she instructs courses in computer music.
OFF SCREEN
InterAccess Electronic
Media Arts Centre
9 Ossington Avenue
416 599 7206
interaccess.org
Hisako Yamakawa graduated from the Fine Arts department at the Kyoto
City University of Art with a degree in Sculpture in 2001 and received
her Master’s in Development of Media Creation from the International
Academy of Media Arts and Sciences (Japan) in 2004. A North American
premiere, KODAMA combines her background in sculpture with a newly
found interest in digital technologies.
75
Museum of Contemporary Canadian Art
(MOCCA)
416 395 0067
mocca.toronto.ca
The Deergirl Diaries: adventures
in combat and passion
Tammy Forsythe
Canada 2006
April 13 to April 22
Opening Reception: Saturday, April 15,
2 PM to 6 PM
Tuesday to Sunday, 11 AM to 6 PM
Well known as one of Canada’s edgiest and most innovative contemporary dancers and choreographers,
Montreal-based Tammy Forsythe’s artistic endeavours in recent years have led to an increasing interest and
commitment to visual art. Since 2000 Forsythe has produced numerous art works in video, performance,
installation, sound, drawing and painting, often combing elements of these media in a complex lexicon. She
combines interests in pop and folk cultures, music and politics and the failures and revelations of lived experience. In the end, the work is a full and uncompromising expression of an artist attempting to make sense of
the world around her in an arena where visual art, movement and performance intersect within the realm of
the imaginative and the physical.
Despite her extensive national and international track record in dance, Tammy Forsythe’s exhibition at
MOCCA will be her first-ever solo exhibition within the context of the visual arts. In order to mimic the
dynamic flux of art and life, the exhibition is intended to resist stasis and complacency. Starting with an
array of objects and art works, Forsythe’s enterprise at MOCCA will be an ongoing project that she will build
upon, working in the gallery daily for the duration of the exhibit. As such, the exhibition will be constantly
changing and evolving in the presence of visitors to the gallery and will include dance and movement–based
performances, the creation of drawings and paintings and the on-site production of video works.
DMT
Jeremy Shaw
Canada 2004
Vancouver-based artist and musician Jeremy Shaw presents his 8-monitor video installation DMT, a work
that explores the varied experiences of his friends under the influence of the powerful hallucinogenic (and
highly illegal) drug DMT.
With his camera tightly focused on their faces, Shaw taped seven of his friends, and himself, attempting
to describe their experiences while tripping heavily for the approximately ten intense minutes that the drug
lasts. As is well known to those who have taken the drug, the experience is nearly impossible to describe,
and watching the subjects in DMT, that certainly appears to be the case. By turns disturbing, amusing, delightful and even silly, the true nature of the work contemplates the inadequacy of language to express deeply
personal and profound experiences.
OFF SCREEN
“I started to realize that there are all kinds of barriers in the language we speak in trying to describe an
experience like that. People really were at a loss for words. And I think it really shows that we can’t share
everything with everyone, that there are things that are always going to be yours. But there are a lot of open
ends to this.” — Jeremy Shaw
How I Loved the Broken
Things of Rome
J.R. Carpenter
Canada 2005
Montreal artist, award-winning fiction writer and poet J. R. Carpenter presents a web art project on a single
monitor PC containing twelve Quicktime videos about the city of Rome. The piece is shaped by and mimics
the style of the modern tourist guidebook. Carpenter mixes maps, diagrams, photographs, historical facts and
literary quotations and contrasts these mostly romantic notions of Rome by overlapping layers of text and
images of the traffic, noise, graffiti, tourists and pollution that characterize the ancient city today.
How I Loved the Broken Things of Rome is a web art finalist in the Drunken Boat Panliterary Awards 2006,
and can be viewed online at luckysoap.com/brokenthings.
Performance by Tammy Forsythe Saturday,
April 15, 6:00 PM at MOCCA. FREE.
76
How I Loved the Broken Things of Rome is also
exhibited as a part of Transposing geographies:
mapping on the internet.
See p.84 for details.
416 979 7874
paulpetro.com
April 14 to May 13
Opening Reception: Friday, April 14, 7 PM to 10 PM
Wednesday to Saturday, 11 PM to 5 PM
Why Always Instead of
Just Sometimes
Deirdre Logue
Canada 2003-2005
And to kick it all off there’s a new book attached! It includes specially
commissioned essays by Steve Reinke, Brenda Goldstein, Daniel Cockburn,
Marc Glassman, Aleesa Cohene, Sarolta Jane Cump, Barbara Sternberg
and Emily Vey Duke. It’s paperless and free of charge, a virtual weightless
book that can be accessed online at lift.on.ca and imagesfestival.com.
— Mike Hoolboom, 2006
“Deirdre Logue may not be inevitable, but her video is. Like most motion
pictures that we give ourselves these days, it’s symptomatic... It hopes
against hope (which is to say: against itself) for either a profound mutation
or a lancing. At its bedraggled best, it pries itself apart, crawls deep
inside, into the crack, and looks for change.” (“Setup/Punchline/Repeat”
by Daniel Cockburn)
Deirdre Logue will be taking part in the Talk to the Pie speakers
series on Tuesday, April 18, 3 PM to 5 PM, at The Gladstone Art
Bar (1214 Queen Street West). See p.21 for details.
“I remember her telling me that when we were done editing Why Always
Instead of Just Sometimes she was going to erase all of her secrets from
my mind. And maybe that’s what happened...” (“Notes from an Editor” by
Aleesa Cohene)
“It is difficult to think of introspection without retrospection, introspection without temporal depth. Self portraiture is a flash of introspection,
shallow, immediate, without depth. Surface introspection. A queer thing.”
(“Not Persephone, Per Se” by Steve Reinke)
Deirdre Logue has spent the past fifteen years working on behalf of media artists by organizing independent film, video and new media festivals,
by founding collectives and by participating in forums and symposiums.
A filmmaker since 1990, Deirdre is perhaps best known for her series of
short, handmade, performance films collectively titled Enlightened Nonsense (2000). Her work has been exhibited nationally at YYZ Artist Outlet
in Toronto, Neutral Ground in Regina, SAW Gallery in Ottawa, Mount
Saint Vincent University Art Gallery in Halifax as well as internationally
at Centre d’art Contemporain in France, the San Francisco Cinematheque,
Video Ex in Switzerland, the Honolulu Academy of Art in Hawaii, Carnegie
Mellon University in Pennsylvania and as part of a recent Canadian video
exchange in Cairo, Egypt. Her works are distributed by Vtape in Toronto.
OFF SCREEN
Three years of collected seeing, wanting, hurting, promises kept and
broken and Deirdre Logue is back with a new video called Why Always
Instead of Just Sometimes. This episodic, twelve part saga updates video
pioneers Vito and Chris and Marina, reshaping the body as material for
a new ethics of seeing. Home movie loops jog the memory between solo
camera performances. Bedroom idylls, ear painting, jaw cracking, bandage
wielding, bag blowing, self suckling, that beauty dancing: it’s all here.
Why Always Instead of Just Sometimes was made with the essential
support of the Canada Council for the Arts, the Liaison of Independent
Filmmakers of Toronto and the Centre for Art Tapes.
77
Prefix Institute of Contemporary Art
416 591 0357
prefix.ca
1 PM to 5 PM
Wednesday to Saturday 12 PM to 5 PM
Power Plays
Annika Larsson
Sweden, 2000/2001
Stills from:
Annika Larsson, “Dog,” 2001
Annika Larsson, “Poliisi,” 2001
Courtesy Andrea Rosen Gallery, NY
and Adrehn-Schiptjenko, Stockholdm.
Moments of significance — The work of Annika Larsson
OFF SCREEN
“The videos of Annika Larsson are encapsulated epics of pure fantasy,
sandwiched in the theatrical display of the ordinary. Her work has been
discussed in the context of the male world of domination and desire.
She likes to engage in such stereotypes of domination and exploitation
as a means to critique them. By emphasizing sparseness and repetition,
Larsson successfully relays the obsessive nature of desire in all of us by
evoking erotic tension even in the most banal of tasks.
Larsson’s work constantly circumvents a narrative; then interrupts it, leaving us on the edge. Accomplished through cyclical repetitiveness, frozen
moments and pregnant pauses (tactics derived from still photography), her
videos evoke an emptiness that channels emotions (desire, fear, anxiety)
and heightens suspense (anticipation, suspicion and speculation). Her
cinematography captures the flow of fleeting impressions fluidly by recording transient, momentary impressions. Because of its specific temporality,
video is well suited to bringing out the spatial aspect of time. In Larsson’s
work, there is a difference between real and psychological time. Time
in Larsson’s works is both compression and expansion — her narrative
depends upon the juxtaposition of significant moments and contrasting
durations such as speed, slow motion, and pauses. Her aesthetic utilizes
distortion through emphasis, such as the focus on singular elements,
78
fetishes and close-ups (face, hand, crotch). Where artists such as Bill
Viola, Douglas Gordon, and Andy Warhol have used similar effects mainly
to evoke meditative or absorptive states in their work, Larsson uses time
in a way that has more in common with the modernist avant-garde — the
focus on the absorbed significant moment. In atomist conceptions of time,
the moment that passes in a few seconds may actually be experienced and
represented in a form whose duration far exceeds its reality. The deeper
the experience of a moment, the greater the accumulation of experience,
hence the moment lived is longer. The lived duration is not a question
of length but of depth and density. This moment possesses explosive
potential — as an intermediate area of experience between inner psychic
reality and external reality in one immediate blast.
There are several different rhetorical vocabularies active within Larsson’s
work. Larsson scales the work down, emphasizing continuity with slight
ruptures. As spectators, we are alienated from conventional modes of
representation; experiencing the work is like a gradual unrolling of an
ancient scroll. Larsson’s is an art of affect rather than distanced appraisal,
an art of duration and absorption rather than of immediate satisfactions,
and an art that refuses the spectator’s control over the image, but rather
embeds its audience within its structures. Her work engages a filmic
strategy of disjunction to break down coherence and normal perception.”
— Shirley Madill
Trinity Square Video
401 Richmond West, Suite 376
416 593 1332
trinitysquarevideo.com
April 15 to May 13
1 PM to 5 PM
Monday to Friday, 10 am to 6 pm
Saturday, 12 pm to 4 pm
OFF SCREEN
The Island in the Centre of the Earth
Michael Campbell
Canada 2006
“Cedar Vessel” 12,000 years collapsing into eight seconds, Plug In ICA Winnipeg, 2005
Lethbridge artist Michael Campbell will be creating new work to present
at this year’s Images Festival during a one-month artist residency at
Trinity Square Video. Combining sculptural elements with video imagery,
Campbell creates experiential works that blur the lines between real and
fictional histories. Artist and critic David Garneau identifies Campbell as an
“emerging member of the Lethbridge School, that includes Janet Cardiff,
George Bures Miller, and David Hoffos. The language in many of the works
by these artists...is poised between science, fiction and spirituality; as if
trying to reactivate the pre-postmodern imaginary of mid-century sci-fi
radio shows and novels that subverted the dominant discourse through
anxious, apocalyptic speculations, conspiracy theories and mistrust of
rationality.” (Michael Campbell: Enlightenment in the Suburbs, Vie des
Arts, No 185, 2002).
For his 2006 residency, Campbell’s The Island in the Centre of the Earth
sees him revisiting a 1933 Antarctic weather observation outpost built by
Admiral Richard E. Byrd. Spending almost a year alone in the snow-sunken
bunker, Byrd eventually lost touch with reality after continual exposure to
carbon monoxide. Recreating the outpost as a 3D model, Campbell will
utilize video projections to posit a fictional character within the space.
Pixelvision recordings will create broadcasts meant to mimic Byrd’s occasional shortwave radio transmissions to the outside world.
There will be a workshop with Michael Campbell Sunday,
April 16, 2006, 1 PM to 4 PM at Trinity Square Video, 401
Richmond Street West, Suite 376. See p.20 for details.
79
Vtape
416 351 1317
vtape.org
April 15 to May 27
Monday to Saturday, 12 pm to 5 pm
Sunday, April 16, 12 pm to 5 pm
Lost in Space
Mieke Bal
Netherlands 2004-2005
OFF SCREEN
When asked, in an interview conducted in English, what he missed most
about being away from home, an Iranian long-term asylum seeker burst
into his native Farsi and said that of the sorely missed things, the primary
one was language. This act triggered the aesthetic of Bal’s new video.
Considering issues surrounding homelessness and displacement, Lost
in Space tears apart different manifestations of language. First, in an
extensive credit sequence, all speakers are shown saying exactly what
they say in the piece, but only their mouths and hands are speaking; no
voice can be heard over the street noise that accompanies their visual
speaking. When the piece proper begins, it becomes clear that the visual
remains severed from the voices. We hear the voices and see, in yet a
different manifestation of speech, the translated utterances in screen-filling typescript. The images of failed attempts to insure home and security
are relegated to the background. Meanwhile, the discrepancy between
what we see, read, and hear becomes a statement on language in the
contemporary world of displacement. – Mieke Bal
Mieke Bal is also exhibiting her new three-channel work
Nothing is Missing at A Space Gallery. See page 67 for
details.
80
Mieke Bal, a well-known cultural critic and theorist, is Academy Professor
in the Royal Netherlands Academy of Arts and Sciences, and a professor of the Theory of Literature at the University of Amsterdam. Her many
publications include Traveling Concepts in the Humanities: A Rough Guide
(University of Toronto Press, 2002), Louise Bourgeois’ Spider: The Architecture of Art-Writing (University of Chicago Press, 2001), Looking In: The Art of
Viewing (G&B Arts International, 2001), Quoting Caravaggio: Contemporary
Art, Preposterous History (University of Chicago Press, 1999) and Narratology: Introduction to the Theory of Literature (University of Toronto Press,
1997). She has also taken up documentary filmmaking and video installation.
Her areas of interest include literary theory, semiotics, visual art, cultural
studies, transcultural theory, feminist theory, French, the Hebrew Bible, the
17th century contemporary culture, and art presentation.
Artist dialogue with Mieke Bal & Mike Hoolboom (part of
the Talk to the Pie speakers series) Friday, April 14, 3 PM to
5 PM at A Space. See p.21 for details.
Wynick/Tuck Gallery
416 504 8716
wynicktuckgallery.ca
April 8 to April 29
A three-channel projection that plays with the possibilities of video
fragmentation. The artist invited people to perform a variety of sounds
using only their bodies as instruments. Randomly played, the collection of
human noises and voices mix together to create a complex musical space.
OFF SCREEN
He Talks So Much Without Saying Anything
Curated by Aki Onda
Takehito Koganezawa
Berlin/Japan 2003
Takehito Koganezawa has developed a diverse art practice in drawing,
video, sound sculpture and performance. His videos often originate from
live performances and include the artist as an actor/participant. He is
represented by Galerie Wohnmaschine in Berlin and has exhibited widely
at venues including the Christopher Grimes Gallery (Santa Monica, USA),
Shiseido Gallery (Tokyo, Japan), Tokyo Opera City Art Gallery (Japan),
La Biennale de Montréal (Canada), and the Rotterdam International Film
Festival (The Netherlands).
81
Mercer Union
37 Lisgar Street
416 536 1519
mercerunion.org
April 13 to May 20
Opening Reception: Thursday, April 13, 8 PM
OFF SCREEN
Yester-duh
Brian Joseph Davis
Canada, 2006
“Yesterday” is the most recorded composition of all time. Is it the most
remembered? A vocal recording booth is installed in the Mercer Union
back gallery. Over the course of the exhibition, during appointed hours, the
public is solicited to record their interpretation of the song “Yesterday”
from memory and with no practice. A headset with a feed of an instrumental version of the song is provided to assist with melody and timing. $5.00
is paid for a “successful” take. The recordings will be composited onto a
limited-edition CD to be sold at the closing party.
Artist Talk with Brian Joseph Davis Thursday, April 13, 7:30 PM
at Mercer Union (37 Lisgar Street). See p.21 for details.
82
“As the performers insinuate themselves into the composition with ersatz
lyrics and marbles in mouths, failed recall becomes a radical strike against
nostalgia, and a bad performance becomes the most graceful of detournements. Perhaps you’ll remember Yesterday tomorrow.” — Brian J. Davis
Brian Joseph Davis was called a “genius” by Alex Ross of The New
Yorker for turning the writings of philosopher Theodor Adorno into a punk
7-inch. Coach House Books recently published Portable Altamont, his first
collection of writings, which has garnered praise.
YYZ Artists’ Outlet
416 598 4546
yyzartistsoutlet.org
Sunday, April 16, 12 PM to 4 PM
Duet: Étude for Solitudes
Laiwan
Canada 2006
Laiwan is an interdisciplinary artist and writer based in Vancouver,
British Columbia. Born in what is now Zimbabwe to Chinese parents, she
immigrated to Canada in 1977 to leave the war in Rhodesia. A graduate
Live Performance with Susie Ibarra & Lori Freedman Tuesday,
April 18 at 9 PM at The Gladstone Ballroom (1214 Queen Street
West). See page 58 for details.
of Emily Carr College of Art and Design, Laiwan started the OR Gallery in
Vancouver in 1983 and has since initiated various curatorial projects in both
Canada and Zimbabwe. Laiwan has participated in a variety of exhibitions in
Canada, the US, Japan and Europe as well as being involved in gay, lesbian,
feminist and ‘of colour’ community-based organizing. She also engages in
public discourse through panel discussions, conferences and symposiums
and gives solo lectures at a variety of venues including galleries, universities
and art programs.
OFF SCREEN
Duet, a large-scale project Laiwan recently developed while participating in
the Sound & Vision Residency at the Banff Centre for the Arts, incorporates
both an interactive gallery installation and a live music performance based
on improvisational practices of jazz. In partnership with YYZ Artists’ Outlet,
Images will present both components of Duet: the installation and a related
performance. The sculptural gallery work contains two double–sided projection screens, connected to computerized music keyboards. Projected on each
screen is the image of Susie Ibarra or Lori Freedman improvising, with each
musician filmed while playing solo. Viewers can “play” each set of video
through the keyboards.
Also at YYZ, March 11 to April 22
Toronto artist Kristan Horton presents a video installation that features a
series of everyday objects morphing into other everyday objects. The morphs
have been produced by hand rather than through the employment of digital
techniques.
Talk to the Pie speakers series with Laiwan, John Oswald & Nobuo
Kubota, Wednesday, April 19, 3 to 5 PM in The Gladstone Art Bar
(1214 Queen Street West). See p.21 for details.
83
Online Works
Transposing geographies: mapping on the internet
Curated by Christina Battle and Sara MacLean
imagesfestival.com
Extending beyond traditional modes of mapping, artists featured in this year’s online exhibit utilize the Internet to reconsider their interactions with place.
Pulling from personal memories, travels and interactions within cities, contributing artists present opportunities for viewers to move beyond the physical
boundaries set by geography. Highlighting the Internet’s ability to navigate users through space, Toronto-based twig design has developed an exhibition
interface allowing visitors to map their journey from one site to the next.
**Please note that many of the sites in this exhibition have sound components best experienced through the use of headphones or stereo speakers.
All About My Ho Chung
Tsang Tsui Shan
China 2005
emergencylab.hk/common/hochungvillage
In The Weather
Melinda Fries and Bonnie Fortune
USA 2005
intheweather.org
Video imagery and field recordings provide the
opportunity to travel through Ho Chung Village
as Tsang Tsui Shan presents a multi-layered recreation based on personal interpretations of the
town as she remembers it.
In 2005 Melinda Fries and Bonnie Fortune
began to collect walks from around the
world. The resulting website allows viewers
to share in individual experiences while
providing pathways for future exploration.
Folk Songs For the Five Points
Alastair Dant, Tom Favis, Victor Gama &
David Gunndate
USA 2006
tenement.org/folksongs
Created in response to the Lower East Side
Tenement Museum’s invitation for a project
exploring contemporary immigrant experiences in New York City, Folk Songs for the
Five Points explores the formation of identity
in New York’s Lower East Side.
OFF SCREEN
How I Loved the Broken Things of Rome
J.R. Carpenter
Canada 2005
luckysoap.com/brokenthings
Mapping the experience of the tourist, J.R.
Carpenter considers landscape from both
a physical and metaphorical perspective.
Layering diagrams, photographs, historical
facts and literary quotes with documents
of contemporary Rome, she explores gaps
between what is known of history and
what is merely speculative. How I Loved
the Broken Things of Rome is also on
exhibition at the Museum of Contemporary
Canadian Art (MOCCA), see page 76 for
further information.
Online works can also be viewed at the Images Festival
Mediatheque, Suite 448, 401 Richmond Street West (open
Monday to Saturday, 12:00 PM to 5:00 PM).
84
New York City Map
Marketa Bankova
Czech Republic 1999-2002
nycmap.com
Marketa Bankova was chosen by a secret
organization to undertake a research expedition in New York City. Her mission: to seek,
discover and document.
Radical Cartography: Exploring Nice,
Mapping Nice
Kayte Young & Bill Rankin
USA 2001
radicalcartography.net/nice
Wanting to make their first impression
of Nice different than the pre-packaged
tourist itinerary, Kayte Young & Bill Rankin
cut up their map, tried alternate modes of
documentation, and talked to the residents
about how they understood their city.
Shadows From Another Place
Paula Levine
USA/Canada 2004
paulalevine.banff.org
What if international gestures, such as acts
of terrorism or war were like boomerangs
returning to sites of origins with an impact
equal to the one enacted? Using Global
Positioning Systems, Paula Levine imagines
the impact of political and cultural changes
taking place in one location upon another.
Online Works
Utopia Suite
Clive Holden
Canada 2006 to 2010
utopiasuite.com
Consisting of a number of elements woven together by an online presence,
Canadian artist Clive Holden presents his recent project Utopia Suite. Inhabiting at once the subcultures of: new media, performance, film and video art;
art-punk, electronic and new music; contemporary and experimental literature;
and web culture, Utopia Suite strives to undergo formal experimentations in
the combining of digital and celluloid arts and to explore the relationships
arising from these combinations.
Clive Holden will present a talk associated with the launch
of Utopia Suite Saturday, April 15, 3 PM to 5 PM at Camera
Bar (1028 Queen Street West). See p.21 for details.
OFF SCREEN
This “virtual walk-through” of the web structure of Utopia Suite is only the
introduction to a larger, multi-platform project due for completion in 2010.
This varied collection will unite to create a “suite”, a whole, interconnected,
intermedia work including:
– a feature-length film/video,
– installations,
– an interactive DVD-ROM intended to gather the completed project together,
– a multimedia artist’s website (utopiasuite.com), the project’s network hub,
– a touring multimedia artist’s talk and performance,
– a variety of special events such as outdoor screenings, performances and
other creative uses of spectacle and social interaction,
– continuous interaction with the web and general media and the public,
incorporating documentation and feedback as an integral part of the ‘culture’
of the project, and
– a book.
Clive Holden is an intermedia artist, filmmaker and writer. His works have
exhibited at the London International Film Festival, the Rotterdam Film
Festival, transmediale in Berlin, the Images Festival in Toronto, the European
Media Art Festival, CPH:DOX Copenhagen Documentary Film Festival, the Ann
Arbor Film Festival, and the 50th Annual Robert Flaherty Film Seminar. Holden
has published two books and two CDs. A native of Victoria, he lives in Toronto
with his wife, writer Alissa York.
85
COMMUNITY PARTNERS
A Space
Toronto ON M5V 3A8
(T) 416 979 9633 (F) 416 979 9683
(E) [email protected] www.aspacegallery.org
Founded in 1971, A Space is one of the oldest operating artist-run centres in Canada.
A Space is committed to politically engaged, community-based, culturally diverse
and technically innovative programming. Basic membership is $20.
Art Gallery of York University
4700 Keele Street, Accolade East Building
Toronto ON M3J 1P3
(T) 416 736 5169 (F) 416 736 5985
(E) [email protected] www.yorku.ca/agyu
Departing from the notion of out there. The Art Gallery of York University is an
artistically and intellectually driven public art gallery dedicated to manifesting
contemporary art within its university context and “off-site” through diverse cultural
circuits. The AGYU, out there, always free.
C Magazine
PO Box 5, Stn B,
Toronto, ON M5T 2T2
(T) 416.539.9495 (F) 416.539.9903
(E) [email protected] www.cmagazine.com
Canada’s leading international contemporary art magazine, C Magazine publishes
challenging critical writing from established and emerging writers. C provides a
forum for Canadian art and artists while placing them on an international stage.
Published quarterly, C Magazine has brought you underground and underdog trends
in art and culture for more than 20 years.
Canadian Film Centre’s Habitat New Media Lab
2489 Bayview Avenue
Toronto ON M2L 1A8
(T) 416 455 1446 x 296 (F) 416 445 9481
(E) habitat@cdnfilmcentre.com www.cdnfilmcentre.com
Looking for a change? Or a whole new direction? The Canadian Film Centre’s Habitat
New Media Lab provides the highest level of analytical and practical new media
training. You’ll push the boundaries of learning and imagination to create interactive
documentaries, mobile entertainment, new media installations, narrative games,
and much more. If you are a writer, designer, producer, programmer, filmmaker, visual
artist, new media pro or a creative mind, contact us.
92
Canadian Filmmakers Distribution Centre
171 East Liberty, Suite 220
Toronto ON M6K 1W9
(T) 416 588 0725 (F) 416 588 7956
(E) [email protected] www.cfmdc.org
The CFMDC is dedicated to securing the availability and promoting the visibility of
independent film works which operate outside of the mainstream. Since 1967, the
CFMDC has been a critical source for curators, programmers, educational institutions, festivals and museums worldwide. With over 2,600 works in distribution,
the CFMDC remains committed to its role as an advocate for the dissemination of
independent visions. For information on having your works distributed by the CFMDC
please contact us at the address above.
Charles Street Video
65 Bellwoods Avenue
Toronto ON M6J 3N4
(T) 416 603 6564 (F) 416 603 6567
(E) [email protected] www.charlesstreetvideo.com
Charles Street Video is a media art centre that provides various production opportunities and artist access to electronic and digital tools. CSV’s facilities include
Avid and Final Cut Pro systems, a ProTools audio editing station and a full range of
production gear. Among the many annual activities CSV undertakes are numerous
artist residencies and workshop sessions and the provision of scholarships to postsecondary, media art students. CSV also collaborates on production programs with
organizational partners, including Inside Out, Planet in Focus, The Power Plant, the
Art Gallery of Ontario, Images Festival, Seventh Generation Image Makers and New
Adventures in Sound Art.
Cinema Scope
465 Lytton Boulevard Toronto ON M5N 1S5
(T) 416 889 5430
(E) [email protected] www.cinema-scope.com
An independently published film quarterly marked by analytical writing on film and
video, Cinema Scope unites experienced critics from across North America with
up-and-coming Toronto writers. Packed with reviews, essays, festival reports,
and interviews, it is geared to cinephiles looking for an intelligent forum on world
cinema. With unparalleled depth and breadth, Cinema Scope is a real alternative in
the Canadian film scene, and in only five years has earned the respect of cinephiles
worldwide.
Cinematheque Ontario
Screenings at Jackman Hall, Art Gallery of Ontario
317 Dundas Street West
Toronto, ON M5T 1G4
(T) 416 968-FILM www.bell.ca/cinematheque
Cinematheque Ontario, the year-round screening programme of the Toronto International Film Festival Group, is dedicated to presenting the history of world cinema in
thoughtfully curated retrospectives, publishing filmmaker monographs, and touring
programmes internationally. Cinematheque Ontario presents an ambitious selection
of over 400 films annually, including director retrospectives, national and regional
cinema spotlights, thematic programmes, a lecture series, and exclusive limited
runs. Each year nearly 50,000 tickets are sold for a diverse showcase of classic and
contemporary Canadian and international cinema, including many new and rare
archival prints.
Design Exchange
234 Bay Street
Toronto ON M5K 1B2
(T) 416 216 2160 (F) 416 368 0684
(E) [email protected] www.dx.org
The Design Exchange opened in1994 and has since mounted close to 100 exhibitions,
organized numerous seminars, lectures, international conferences, educational
programs and publications. The DX’s mission is to promote the value of Canadian
design, through engaging and enriching programs. Individual Membership is $55.
Edward Day Gallery
Toronto ON M6J 1G8
(T) 416 921 6540 (F) 416 921 6624
(E) [email protected] www.edwarddaygallery.com
The Edward Day Gallery was founded in 1992 in Kingston Ontario. The gallery is now
located at the 952 Queen Street West complex at Queen and Shaw and represents
Canadian emerging and established contemporary artists. The Gallery operates Tuesday-Thursday 10-6, Friday 10-7, Saturday 10-6, and Sunday 12-5, closed on Mondays.
The Factory: Hamilton Media Arts Centre
126 James Street North
Hamilton ON L87 2K7
Mail: P.O. Box 57187, Jackson Station, 2 King St. West, Hamilton ON L8P 4X1
(T) 905 537-8377
(E) [email protected] www.hamiltonmediaarts.org
An artist-driven resource centre dedicated to the production and promotion of diverse
forms of independent film, video, and time-based multimedia arts. Service provisions
include access to facilities, equipment, peer resources, and educational initiatives.
The Factory encourages the development and appreciation of these art forms through
an ongoing programme of screenings and events.
Frame Discreet
8mm.film.transfer.house
(T) 416.803.1101
(E) [email protected] www.justinlovell.com
Razor sharp frame accurate transfers of super 8, regular 8 and super duper/max 8
widescreen. We offer Scene by Scene and Supervised Transfers to give you the most
out of the beautiful qualities of 8mm film.
Gallery 44 Centre for Contemporary Photography
Toronto ON M5V 3A8
(T) 416 979 3941 (F) 416 979 1695
(E) [email protected] www.gallery44.org
Gallery 44 is a non-profit, artist-run centre committed to the advancement of contemporary Canadian photography. Our goal is to contribute to the national dialogue
on contemporary Canadian photographic art practice and to foster its support,
understanding and appreciation.
Gallery TPW
Toronto ON M5V 2J3
(T) 416 504 4242 (F) 416 504 6510
(E) [email protected] www.photobasedart.ca
Gallery TPW is a leading artist-run centre that exhibits the best in Canadian and
international photo-based art. For over 25 years, Gallery TPW has provided a venue
for the presentation and critical investigation of contemporary photography and
photo-based art. The gallery’s programs address the vital role that photo-based
images play in contemporary culture, and explore the integration of photography with
new technologies and time-based media.
The Gladstone Hotel
Toronto ON M6J 1J6
(T) 416 531 4635
www.gladstonehotel.com
The recently restored Gladstone Hotel is a unique urban hotel featuring 37 artistdesigned hotel rooms and suites, short-term artist studio and exhibition spaces, plus
event venues in a landmark building. The Gladstone Hotel delivers visitors instant access to Toronto’s diverse art scene. Guests can experience Toronto art from within the
comforts of one of the hotel’s artist designed rooms and attend art related events held
right in the hotel, and then step out into the heart of the city’s art and design district.
Goethe-Institut Toronto
Toronto ON M5H 4C6
(St Andrew subway)
(T) 416 593 5257 (F) 416 593 5145
(E) [email protected] www.goethe.de/toronto
The Goethe-Institut Toronto presents a wide range of contemporary arts programming, creating a vibrant dialogue between the various scenes in Germany and
Canada today. We also run an extensive reference and lending library and offer
professional German language courses both in Toronto and in Germany.
93
Gulf Islands Film & Television School
S.43 C.12 Galiano Island BC V0N 1P0
(T) 1 800 813 9993
(E) gifts@gulfislands.com www.GIFTSfilms.com
GIFTS is more than a school — we are a film, video & animation production hub.
Located on beautiful Galiano Island, BC, we offer intensive live-in workshops and
programs throughout the year for both teens and adults. Under the close mentorship
of award-winning media professionals, our students are immersed in all aspects
of the production process. Every student comes away from the program with a
well-rounded set of creative skills and an original video to add to their portfolio. Our
mission is to give students the means to fulfill their vision and talent, then sit back
and watch as they astound us.
Harbourfront Centre/Visual Arts & Crafts, York Quay Centre
235 Queens Quay West
Toronto ON M5J 2G8
(T) 416 973 4000
(E) [email protected] www.harbourfrontcentre.com
Established in 1976, Visual Arts & Crafts exhibitions at York Quay Centre are nonprofit and non-collecting exhibition spaces, dedicated to exhibiting works from both
local and international artists, collectives and institutions circulating exhibitions in
many disciplines including fine art, new media, craft, design and architecture.
Hot Docs Canadian International Documentary Festival
Toronto ON M5V 2K4
(T) 416 203 2155 (F) 416 203 0446
(E) [email protected] www.hotdocs.ca
Hot Docs, North America’s largest documentary festival, will present its 13th annual
edition from April 28 to May 7, 2006. An outstanding selection of 100+ documentaries from Canada and around the world will be presented to Toronto audiences
and international delegates from over 25 countries. Hot Docs will also mount a full
roster of professional development and market events for documentary practitioners,
including the renowned Toronto Documentary Forum, running May 3 & 4, 2006.
imagineNATIVE Film + Media Arts Festival
Toronto ON M5V 3A8
(T) 416 585 2333 (F) 416 585 2313
(E) [email protected] www.imaginenative.org
The imagineNATIVE Film + Media Arts Festival, promotes, advances, and fosters
emerging and established Canadian Aboriginal filmmakers and media artists in an international context. Please join us for the 7th Annual Festival, October 18–22, 2006.
94
Inside Out Toronto Lesbian and Gay Film and Video Festival
Toronto ON M5V 3A8
(T) 416 977 6847 (F) 416 977 8025
(E) [email protected] www.insideout.ca
Inside Out hosts Canada’s largest and most exciting queer film and video festival,
dedicated to the promotion and exhibition of film and video by or about Lesbian, Gay,
Bisexual and Trans (LGBT) people. Through a variety of initiatives, we are committed
to nurturing and supporting new and established artists while providing opportunities for audiences to view the best and most diverse work of interest to the LGBT
communities. Join us May 18-28, 2006!
InterAccess Electronic Media Arts Centre
9 Ossington Avenue
Toronto ON M6J 2Y8
(T) 416 599 7206 (F) 416 599 7015
(E) [email protected] www.interaccess.org
InterAccess provides artists and the general public with opportunities to explore the
intersection of culture and technology through the creation, exhibition and critique of
electronic art forms and new communications media.
Kasseler Dokumentarfilm und Videofest
Filmladen Kassel e.V Goethestrasse 31
34119 Kassel Germany
(E) dokfest@filmladen.de www.filmladen.de/dokfest
The Kasseler Dokumentarfilm und Videofest began as a pure documentary film
festival in the 1980’s but has since extended its frame to include media
installations, MONITORING, and the seminar interfiction, a place for
lectures and debates about the internet. In 2005 the festival presented 233
films and videos as well as 15 media installations, and was attended by more
than 7900 spectators. The 23rd festival takes place November 7-12, 2006.
Deadline for entries: August 1st
The Liaison of Independent Filmmakers of Toronto
171 East Liberty, Suite 301
Toronto ON M6K 1W8
(T) 416 588 6444 (F) 416 588 7017
(E) offi[email protected] www.lift.on.ca
LIFT is a non-profit charitable organization that provides Toronto’s vibrant arts community with affordable access to film equipment, professional and creative development workshops, film screenings and much, much more. Whether you’re an art star
or absolute beginner, if you’re interested in making a film, give us a call. Now!
Media City
109 University Avenue West
Windsor ON N9A 5P4
(T) 519 977 6564
(E) [email protected]
Media City is an international festival of experimental film and video art presented
annually in Windsor, Ontario since 1994. The festival is a co-presentation of Artcite
Inc. (Windsor’s artist-run centre for the contemporary arts) and House of Toast
(Windsor’s film and video collective).
Mercer Union, A Centre for Contemporary Art
37 Lisgar Street
Toronto ON M6J 3T3
(T) 416 536 1519
(E) [email protected] www.mercerunion.org
Mercer Union, A Centre for Contemporary Art is an artist-run centre dedicated to the
existence of contemporary art. We provide a forum for the production and exhibition
of Canadian and international conceptually and aesthetically engaging art and
related cultural practices. We pursue our primary concerns through critical activities
that include exhibitions, lectures, screenings, performances, publications, events and
special projects.
Museum of Contemporary Canadian Art, (MOCCA)
Toronto ON M6J 1G8
(T) 416 395 0067 (F) 416 395 7598
(E) [email protected] www.mocca.toronto.ca
The Museum of Contemporary Canadian Art, (MOCCA), was founded in 1999 with a
mandate to exhibit, research, collect, and promote innovative art by Canadian artists
whose works engage and reflect the relevant stories of our times. MOCCA currently
exists as a not-for-profit, arms-length agency of the City of Toronto’s Culture Division.
MOCCA’s exhibition program reflects a dynamic yet balanced approach to presenting
the wide range of ideas and media being explored by established artists at advanced
stages of practice, and emerging artists who have demonstrated strong promise and
exceptional commitment. In addition, MOCCA includes work by non-Canadian artists
in group exhibitions, thereby creating a global context for the Canadian cultural voice.
The Music Gallery
197 John Street
Toronto ON M5T 1X6
(T) 416 204 1080
www.musicgallery.org
The Music Gallery is Toronto’s Centre for Creative Music, a publicly assisted centre
for the creation and performance of new music and music-related arts in Toronto,
Ontario, Canada. We support the creation, performance and production of work in the
following broadly defined areas: contemporary concert music, experimental or free
jazz, experimental or avant rock, ethnocentric musics, electro-acoustic or electronic
music, work involving mixed or experimental media and performance arts.
New College, University of Toronto
300 Huron Street
Toronto ON M5S 3J3
(T) 416 978 2461 (F) 416 978 0554
(E) [email protected] www.library.utoronto.ca/new_college
New College houses such interdisciplinary programs as Women’s Studies, African
Studies, Caribbean Studies, South Asian Studies, Equity Studies and a new program
called Paradigms and Archetypes. Such programs invite students to challenge
traditional modes of thought and to apply critical scrutiny to their own lives and the
social contexts in which they learn, work and live.
Toronto ON M6J 1H1
(T) 416 979 7874 (F) 416 979 3390
(E) [email protected] www.paulpetro.com
Paul Petro Contemporary Art exhibits, by invitation, advanced contemporary work
in all media by Canadian and International visual artists. The gallery has been in
operation since 1993 and has co-presented work with the Images Festival for the
past eight years.
Pleasure Dome
132 Wychwood Avenue
Toronto ON M6G 2Y2
(T) 416 656 5577
(E) [email protected] www.pdome.org
Pleasure Dome is a year-round film and video exhibition group dedicated to the
presentation of experimental film and video by artists. Programming since 1989,
Pleasure Dome is committed to exhibiting local, national and international work,
especially shorter-length and small-format work, as well as non-traditional work that
mixes film and video with other media such as performance and installation.
Prefix Institute of Contemporary Art
Toronto ON M5V 3A8
(T) 416 591 0357
(E) info@prefix.ca www.prefix.ca
Prefix Institute of Contemporary Art is a charitable organization that fosters the appreciation and understanding of contemporary photographic, media, and digital arts.
As the only venue of its type in Canada, Prefix increases the visibility of Canadian
artists and supports Canadian writers, curators, and critics, while also bringing a
diverse body of international work to Canadian audiences through exhibitions, publications, and community-partnered activities. Its semi-annual magazine, Prefix Photo,
received an honourable mention for the President’s Medal at the 2005 National
Magazine Awards.
Reel Asian International Film Festival
Toronto ON M5V 3A8
(T) 416 703 9333 (F) 416 703 9986
(E) [email protected] www.reelasian.com
The Toronto Reel Asian International Film Festival takes place annually, showing
the best in independent Asian film and video from Canada, the U.S. and all over the
world. Our 10th-anniversary edition will take place at the end of November, 2006.
Applications will be available soon on our website.
Soundscapes
572 College Street
Toronto ON M6G 1B3
(T) 416 537 1620
Soundscapes is a music store housing a well-chosen array of rock, americana, folk,
blues, psychedelic, electronic, hip-hop, soul, jazz, experimental, classical, reggae and
world music. There is also a quality selection of music-related DVDs, magazines, and
books. Soundscapes has been voted Toronto’s Best Music Shop by Eye Magazine,
Now Magazine and Toronto Life.
95
South Asian Visual Arts Collective (SAVAC)
Toronto, ON Canada M5V 3A8
(T) 416 542 1661
(E) [email protected] www.savac.net
SAVAC is a Toronto-based, artist-run, nonprofit organization dedicated to the
development and presentation of contemporary visual art by artists of South Asian
origin. SAVAC does not have a permanent gallery. As a collective, we produce exhibitions, an international lecture series, and educational projects in collaboration with
artist-run-centres, museums, educational institutions and community organizations to
integrate South Asian artists in the contemporary art sector.
Trinity Square Video (TSV)
Toronto ON M5V 3A8
(T) 416.593.1332 (F) 416.593.0958
(E) [email protected] www.trinitysquarevideo.com
TSV is an artist-run centre that provides independent artists and community organizations with video production and postproduction support and services at accessible
rates. Here since 1971, TSV provides a range of services and initiatives for the creation, training and understanding of media art. These services and initiatives include
workshops, an annual artist-in-residency, themed commission programs, artist talks,
internships, member production grants and festival and community sponsorships. The
TSV Gallery features exhibitions and screenings of video art by local, national and
international artists.
www.vtape.org
Vtape
Toronto ON M5V 3A8
(T) 416 351 1317 (F) 416 351 1509
(E) [email protected] www.vtape.org
Founded in 1980, Vtape is an international distribution, exhibition and resource
centre with an emphasis on the contemporary media arts. Vtape represents over
900 artists and carries over 3,500 titles. In-office facilities include study carrels for
viewing and an extensive library of print materials available to the general public.
Vtape also provides exhibition support and equipment rentals to galleries, curators
and individual artists.
Wavelength
www.wavelengthtoronto.com
Wavelength is a weekly pay-what-you-can live music series and monthy magazine
focused on the Toronto underground musical and artistic community. Started in 2000,
Wavelength continues to be driven by a social conscience, promoting inclusivity,
equality, civic and environmental responsibility, with the aim of encouraging connections between diverse and currently isolated communities.
96
Women’s Art Resource Centre
Toronto ON M5V 3A8
(T) 416 977 0097 (F) 416 977 7425
(E) [email protected] www.warc.net
WARC is a not-for-profit, artist-run centre dedicated to the advancement of contemporary Canadian women artists. Activities include the WARC Gallery, Curatorial
Research Library, Professional Development Workshops, Matriart Magazine, Educational Resources, Symposia & Conferences. Charitable # 131083271RR0001
Wynick/Tuck Gallery
Toronto ON M5V 3A8
(T) 416 504 8716 (F) 416 504 8699
(E) [email protected] www.wynicktuckgallery.ca
Founded in 1968 as a downtown storefront/warehouse, Wynick/Tuck Gallery features
multi media, progressive contemporary art by emerging, mid-career and senior artists. Wynick/Tuck is committed to pushing the boundaries and blurring the lines.
York University – Department of Film
222, Centre for Film and Theatre
4700 Keele Street
Toronto ON M3J 1P3
(T) 416 736 5149 (F) 416 736 5710
(E) fi[email protected] www.yorku.ca/gradfilm/
York University’s Department of Film offers undergraduate and graduate programs
leading to BA, BFA, MA and MFA degrees, taught by award-winning filmmakers
and scholars. Programs include professional training in film and video production
(cinematography, editing, sound, directing and producing for fiction, documentary and
alternative projects), screenwriting (story editing, scene writing and feature scripts),
and scholarship in cinema and media history, theory and criticism, with a special
focus on Canadian and world cinemas and documentary and alternative film.
YYZ Artists’ Outlet
Toronto ON M5V 3A8
(T) 416 598 4546 (F) 416 598 2282
(E) [email protected] www.yyzartistsoutlet.org
YYZ Artists’ Outlet is a vibrant artist-run forum for the presentation of
local, national and international contemporary artist-initiated exhibitions
in all media as well as publications on topics in contemporary art, culture and
society and activities that bring artists and audiences into contact with
each other in engaging ways.
ARTIST INDEX
Abate, Bobby p. 30
Abichandani, Jaishri p. 35
Ahluwalia, Ashim p. 35
Ajji, Tejpal S. p. 39
Akhlaq, Nurjahan p. 35
Arora, Kriti p. 35
Arsenault, Jason p. 69
Atelier National du Manitoba p. 40
Avikunthak, Ashish p. 35
Bailey, Jeremy p. 57
Bal, Mieke p. 21, 67, 80
Bankova Marketa p. 84
Baron, Rebecca p. 45
Barrow, Daniel p. 56
Bellavance, Alexis p. 69
Beloff, Zoe p. 48
Ben-Ner, Guy p. 48
Berton, Peggy Anne p. 49
Bessette, Myriam p. 69
Best, Suky p. 21, 72
Bonder, Diane p. 31
Borins, Daniel p. 33
Brakhage, Stan p. 46
Brown, Carl p. 43
Brown, Jubal p. 33
Brundert, Dagie p. 43
Brynntrup, Michael p. 38
Campbell, Michael p. 20, 79
Carpenter, J.R. p. 76, 84
Carpenter, Maïa Cybelle p. 48
Chan, Paul p. 47
Chandra, Vijay B. p. 34
Chenal, Pierre p.44
Chung-Yan, Alison p. 75
Cokes, Tony p. 21, 71
Collins, Susan p. 72
Cowan, Paula Jean p. 49
Creson, John p. 31
Cummins, Rebecca p. 21, 73
Curreri, Chris p. 71
Daniel, Mary J. p. 31
Dant, Alastair p. 84
Davis, Brian Joseph p. 82
Davis, Martha p. 43
Deep Dark United p. 57
Devic, Goran p. 30
Douglas, Stan p. 68
Doupé, Barry p. 30
Dupuis, Robin p. 69
Dutta, Amit p. 35
Echenberg, Rachel p. 36
ElKoussy, Hala p. 38
Ellsworth, David p. 43
Empain, Joanna p. 32
Faithfull, Simon p. 73
Fanderl, Helga p. 46
Favis, Tom p. 84
Flax, Carol p. 71
Forsythe, Tammy p. 76
Fortin, Anne-Michèle p. 46
Fortune, Bonnie p. 84
Fox-Gieg, Nick p. 47
Frank, Tina p. 55
Frater, Jean Alexander p. 39
Freedman, Lori p. 58, 83
Fries, Melinda p. 84
Gagliardi, Francesco p. 31
Gama, Victor p. 84
German Ministry for Propaganda p. 44
Gimel, Augustin p. 38
Goodwyn, Amber p. 46
Grenier, Vincent p. 21, 41
Gunndate, David p. 84
Haig-Brown, Helen p. 31
Hamlyn, Nicky p. 20, 36, 46
Harman, Hugh p. 47
Hill, Eric p. 39
Hill, Laurie p. 39
Hofstetter, A p. 70
Holden, Clive p. 21, 85
Hoolboom, Mike p. 21, 29
Horio, Kanta p. 59
Horton, Kristan p. 83
Ibarra, Susie p. 58, 83
Ito, Atsuhiro p. 59
Johannesen, Karen p. 43, 46
Joreige, Lamia p. 30
Kanian, Armen K. p. 39
Kobland, Ken p. 37
Koganezawa, Takehito p. 81
Koller, Yannick p. 43
Korda, Vincent p. 44
Kubota, Nobuo p. 20, 21, 29, 58
L., Marcellvs p. 32
Laiwan p. 21, 58, 83
Landrián, Nicolás Guillén p. 42
Lang, Fritz p. 44
Lange, Dominik p. 46
LaPore, Mark p. 32
Larsson, Annika p. 78
Le Corbusier p. 44
Le Maitre, Willy p. 61
Lemay, Claudette p. 69
Levine, Paula p. 84
Levine, Saul p. 46
Liotta, Jeanne p. 46
Lippmann, Holger p. 70
Lockhart, Sharon p. 27
Logue, Deirdre p. 21, 77
Lorenzo, Jorge p. 39
Lukomski, Xavier p. 37
Macias-Red Bear, LisaNa p. 33
Madansky, Cynthia p. 47
Mangaard, Annette p. 20, 29
Marier, Pierre p. 47
Martin, Mirko p. 39
Matsuyama, Yuiko p. 45
McCay, Winsor p. 47
Menz, Eduardo p. 39
Meter, Barbara p. 37
Michaud, Hans p. 36
Miranda, Madalena p. 36
Moersch, Beatrix p. 39
Moholy-Nagy, Laszlo p. 44
Moore, Sandee p. 45
mpld, p. 55
Müller, Matthias p. 44
Naoyuki, Tsuji p. 61
Nigrin, Albert Gabriel p. 43
Nishikawa, Tomonari p. 39
Oswald, John p. 21, 70
Ouellette, Dianne p. 31
Palm, SR p. 39
Parker, Jayne p. 37
Pati, Pramod p. 34
Perte de Signal, p. 69
Pilon, André p. 43
Porter, John p. 43
Price, John p. 32, 38
Prophet, Jane p. 21, 73
Pruska-Oldenhof, Izabella p. 36
Raff, Paul p. 70
Rankin, Bill p. 84
Reinke, Steve p. 30
Richardson, Emily p. 55
Riendeau, Robert p. 43
Robinson, Aimée Dawn p. 57
Robinson, Michael p. 32
Rogalski, Alex p. 43
Rokeby, David p. 73
Rosen, Adam p. 31
Saito, Daichi p. 43
Sastry, SNS p. 34
Sawai, Taeji p. 59
Shan, Tsang Tsui p. 84
Shaw, Jeremy p. 76
Shawky, Wael p. 33
Sherwin, Guy p. 45
Shewring, Chu-Li p. 48
Shinn, Eric p. 33
Silver, Shelly p. 38
Singing Saw Shadow Show p. 57
Southern Ladies’ Animation Group (SLAG) p. 47
Stirling, Calum p. 74
Sueoka, Ichiro p. 37
Superstudio p. 44
Taanila, Mika p. 44
Tabata, Shizuko p. 45
Tirafkan, Sadegh p. 67
Todd, Robert p.32
Toronto Still Video Festival p. 57
Tupicoff, Dennis p. 47
Turnham, Gillian p. 39
Uehara, Miho p. 43
Van Huesen, Trish p. 43
van Ingen, Sami p. 31
Vora, Darshana p. 35
Wadia, Riyad p. 35
Walt Disney Studios p. 44
Warne, David p. 70
Welsby, Chris p. 21, 73
Wickramasinghe, Pavitra p. 35
Yamakawa, Hisako p. 75
Young, Kayte p. 84
99
TITLE INDEX
1! (p. 71)
Tony Cokes
(e) [email protected]
Catch (p. 41)
Vincent Grenier
16mm journey (p. 35)
Darshana Vora
Cave, The (p. 33)
Wael Shawky
30km (p.72)
Simon Faithful
Film & Video Umbrella (p.103)
Charming Augustine (p. 48)
Zoe Beloff
Abid (p. 34)
Pramod Pati
Film Division (see p. 103)
Child on a Chess Board (p. 34)
Vijay B. Chandra
All About my Ho Chung (p. 84)
Tsang Tsui Shan
Chronomops (p. 55)
Tina Frank
Sixpack North America (see p. 103)
Always Before After (p. 70)
John Oswald
Circa 1960 (p. 71)
Chris Curreri
And I Make Short Films (p. 34)
SNS Sastry
Claxplosion (p. 34)
Pramod Pati
Another Light (p. 73)
Rebecca Cummins
rebeccacummins.com
Coffea arábiga/Arabiga Coffee (p. 42)
Nicolás Guillén Landrián
ICIAC (see p. 103)
Antaral / Endnote (p. 35)
Ashish Avikunthak
c/o Shai Heredia
(e) shai@filterindia.com
Counting Cats, Counting Sheep (p. 43)
Dagie Brundert
Approximately Stable (p. 39)
Tejpal S. Ajji
Architecture d’aujourd’hui (p.44)
Pierre Chenal and Le Corbusier
c/o Marc Glöde
Ariadne (p. 37)
Barbara Meter
De Filmbank (see p. 103)
Ashes (p. 31)
Dianne Ouellette
(e) dianne@difilms.com
Blind Alley Augury (p. 43)
Diachi Saito
One Take Super 8 Event (see p. 103)
Blue Box Blues (p. 38)
Michael Brynntrup
CFMDC (see p. 103)
Blue-up (p. 39)
Jorge Lorenzo
(e) jfl[email protected]
BOMgAY (p. 35 )
Riyad Wadia
c/o Shai Heredia
Brainwashing (p. 43)
Albert Gabriel Nigrin
Canyon Cinema (see p. 103)
Brennen Soll Columbusn’s Medina, A (p. 46)
Saul Levine
Canyon Cinema (see p. 103)
100
Dream in Kodachrome (p. 43)
Robert Riendeau
Bridge at the Drina, The (p. 37)
Xavier Lukomski
Cobra Films (see p. 103)
Cubicules (p. 69)
Perte de Signal
Cupcake (p. 49)
Paula Jean Cowan
Death in the Garden of Paradise (p. 35)
Nurjahan Akhlaq
Decoy (p.72)
Jane Prophet
janeprophet.com
Deep Dark United (p. 57)
Deergirl Diaries, The (p. 76)
Tammy Forsythe
MOCCA (see p. 103)
Desde la Habana ¡1969!/From Havana, 1969
(p. 42)
ICIAC (see p. 103)
Distraught Mother Reunites with Her Children
(p. 30)
Barry Doupé
DMT (p. 76)
Jeremy Shaw
MOCCA (see p. 103)
Dog (p. 78)
Annika Larsson
Andrea Rosen Gallery (see p. 103)
Down on Me (p. 43)
John Porter
Duet: Étude for Solitudes (p. 58, 83)
Laiwan
Edia (p. 61)
Willy Le Maitre
(e) fi[email protected]
Embrace (p. 30)
Lamia Joreige
EM#2
Kanta Horio (p. 59)
En un barrio Viejo/In an Old Neighborhood
(p. 42)
ICIAC (see p. 103)
Evergreen (p.32)
Robert Todd
Evening Star (p. 36)
Madalena Miranda
Agência da Curta Metragem (see p. 103)
Explorer (p. 34)
Pramod Pati
Fascination (p. 29)
Mike Hoolboom
Fin, La (p. 43)
André Pilon
CFMDC (see p. 103)
Folk Songs For the Five Points (p. 84)
Alastair Dant, Tom Favis, Victor Gama & David
Gunndate
Freedman, Lori (p. 58, 83)
lorifreedman.com
fugitive l(i)ght (p. 36)
Izabella Pruska-Oldenhof
CFMDC (see p. 103)
Futurisms: Film, Architecture, Urbanism (p. 44)
c/o Marc Glöde
Futuro: A New Stance for Tomorrow (p.44)
Mika Taanila
c/o Marc Glöde
Geneva (p. 38)
Augustin Gimel
Glenlandia (p. 72)
Susan Collins
susan-collins.net
gun/play (p. 32)
John Price
Happily Never After (p. 35)
Jaishri Abichandani
He Talks So Much Without Saying Anything
(p. 81)
Takehito Koganezawa
Here (p. 41)
Vincent Grenier
CFMDC (see p. 103)
Hernaford Rd. or the Distance to Sleep (p. 36)
Rachel Echenberg
Videographe (see p. 103)
Lasso (p. 48)
Maïa Cybelle Carpenter
CFMDC (see p. 103)
New York City Map (p. 84)
Marketa Bankova
His Mother’s Voice (p. 47)
Dennis Tupicoff
Legend of Buck Kelly, The (p. 49)
Peggy Anne Berton
Nothing is Missing (p. 67)
Mieke Bal
Vtape (see p. 103)
How I Loved the Broken Things of Rome
(p. 76, 84)
J.R. Carpenter
Life is Pornography (p. 33)
Jubal Brown
nududu (p. 43)
Miho Uehara
Light Quanta (p. 43)
Karen Johannesen
Object Studies (p. 36)
Nicky Hamlyn
LUX (see p. 103)
Ibarra, Susie (p. 58)
[email protected]
Little Bird of Disaster, The (p. 47)
Nick Fox-Gieg
V tape (see p. 103)
Ociel de Toa/Ociel of Toa (p. 42)
ICIAC (see p. 103)
I Don’t Feel Safe Around You (p. 39)
Armen K. Kanian
Lost in Space (p. 80)
Mieke Bal
Vtape (see p. 103)
Of Lives Uprooted (p. 47)
Pierre Marier
National Film Board of Canada (see p. 103)
I remember now, we never danced, i miss you,
goodbye (p. 31)
Diane Bonder
lyric for our home song (p. 46)
Amber Goodwyn
Oh! This Could Go On Forever! (p. 39)
Jean Alexander Frater
Machine for Taking Time (p.72)
David Rokeby
Pari Nadimi Gallery (p.103)
One Revolution Per Minute (p. 74)
Calum Stirling
Making Pictures (p. 38)
John Price
Optron (p. 59)
Atsuhiro Ito
m a n . r o a d . r i v e r (p. 32)
Marcellvs L.
V tape (see p. 103)
Oscillate (p. 46)
Karen Johannesen
Manhood (p. 67)
Sadegh Tirafkan
Palinode->Great Retraction (p. 33)
Daniel Borins
Peace on Earth (p. 47)
How Little We Know of Our Neighbors (p. 45)
Rebecca Baron
Ideas of Order in Cinque Terre (p. 37)
Ken Kobland
Imported Crows (p. 30)
Goran Devic
c/oVanja Jambrovic
In The Weather (p. 84)
Melinda Fries & Bonnie Fortune
[email protected]
Inconsolable Memories (p. 68)
Stan Douglas
Art Gallery of York University (see p. 103)
Intérieur Interiors (to A.K.)
Vincent Grenier
CFDMC (see p. 103)
(p. 41)
Mantis Tales (p. 48)
Chu-Li Shewring
Intermittent Recognition
Eric Hill & Beatrix Moersch
(p. 39)
Market Street (p. 39)
Tomonari Nishikawa
Island (p. 45)
Yuiko Matsuyama
Island at the Centre of the Earth (p. 79)
Michael Campbell
It’s Like That (p. 47)
S.L.A.G.
(t) 011 619 380 8463
Keitai Tokyo (p. 45)
Sandee Moore
Video Pool
KODAMA – mischevious echoes (p. 75)
Hisako Yamakawa
Kolkata (p. 32)
Mark LaPore
c/o Mark McElhatten
Kshya Tra Gya (p. 35)
Amit Dutta
Film & Television Institute of India (see p. 103)
Kubasa in a Glass (p. 40)
Atelier National du Manitoba
memoria/memoir (p. 71)
Carol Flax
(e) carolfl[email protected]
Mendi, The (p. 21, 30)
Steve Reinke
V tape (see p. 103)
MFDP 6/01-8/03 (p. 36)
Hans Michaud
Mine’s Bedlam (p. 43)
Carl Brown
CFMDC (see p. 103)
Mona Lisa (p. 46)
Helga Fanderl
Monsanto House of the Future (p.44)
Walt Disney Studios
c/o Marc Glöde
Mouvances (p. 32)
Joanna Empain
GIV (see p. 103)
mpld (p. 55)
Gill Arnó
near a landmark and other passed identities
(p. 43)
Alex Rogalski
Perfect, The (p. 39)
Gillian Turnham
Peripheral Stories (p. 38)
Hala ElKoussy
Petrolia (p. 55)
Emily Richardson
LUX (see p. 103)
Pine Flat (p. 27)
Sharon Lockhart
Barbara Gladstone Gallery (see p. 103)
Pinochet’s Women (p. 39)
Eduardo Menz
Placid Unto (p. 46)
Jeanne Liotta
Polar Bear (p. 46)
Helga Fanderl
Poliisi (p. 78)
Annika Larsson
Andrea Rosen Gallery (see p. 103)
Pop Manifestos (p. 71)
Tony Cokes
PSA .11 fallout (p.47)
Cynthia Madansky
Qutopoeisis (p. 33)
Eric Shinn
c/o Jubal Brown
101
Radical Cartography: Exploring Nice, Mapping
Nice (p. 84)
Kayte Young & Bill Rankin
Supersurface (p.44)
Superstudio
c/o Marc Glöde
Re: The Operation (p. 47)
Paul Chan
Video Data Bank (see p. 103)
Surface Tension #2 (p. 41)
Vincent Grenier
CFMDC (see p. 103)
Reportaje/Report (p. 42)
ICIAC (see p. 103)
Sylvania
(p. 30)
Bobby Abate
Return of the Native (p. 72)
Suky Best
Film & Video Umbrella (p.103)
Tabula Rasa (p. 41)
Vincent Grenier
CFMDC (see p. 103)
Roda, La (p. 46)
Anne-Michèle Fortin
THIS or THAT? Or NEITHER? (p. 35)
Kriti Arora
Sawai, Taeji (p. 59)
Timeless – Time, Landscape & New Media
(p. 72-73)
c/o DA2 – Digital Arts Development Agency
(see p. 103)
Sequent of Hanna Ave (p. 31).
Sami van Ingen
Shadows From Another Place (p. 84)
Paula Levine
Short Season, A (p. 35)
Ashim Ahluwalia
c/o Shai Heredia
Toronto Still Camera Video Festival (p. 57)
(e) stillcamerafi[email protected]
Trees in Winter (p. 73)
Chris Welsby
sfu.ca/~welsby/
Views from Home (p. 45)
Guy Sherwin
Visite chez Grand-mère (p. 46)
Dominik Lange
Weather Report (p. 39)
Laurie Hill
What I’m Looking For (p. 38)
Shelly Silver
Vtape (see p. 103)
Why Always Instead of Just Sometimes (p. 77)
Deirdre Logue
Vtape (see p. 103)
Wild Boy (p. 48)
Guy Ben-Ner
willing spirits (p. 31)
John Creson & Adam Rosen
Winnipeg Babysitter (p. 56)
Daniel Barrow
World in Focus (p. 41)
Vincent Grenier
CFMDC (see p. 103)
Short Sentences (p. 31)
Francesco Gagliardi
CFMDC (see p. 103)
Trilogy About Clouds (p. 61)
Tsuji Naoyuki
Singing Saws Shadow Show (p. 57)
Trio (p. 46)
Stan Brakhage
CFMDC (see p. 103)
Wort aus Stein, Das (p.44)
German Ministry for Propaganda
c/o Marc Glöde
Trip (p. 34)
Pramod Pati
Yester-duh (p. 82)
Brian Joseph Davis
Mercer Union (see p. 103)
Tunnel (p. 46)
Helga Fanderl
You Are German? (p. 39)
Mirko Martin
Turn-Offs (p. 39)
SR Palm
You Don’t Bring Me Flowers (p. 32)
Michael Robinson
Twirl Girl (p. 43)
Trish Van Huesen
Yubi Nobi (p. 43)
Miho Uehara
Sinking of the Lusitania, The (p. 47)
Winsor McCay
Library of Congress (see p. 103)
Snail (p. 43)
Yannick Koller
Light cone (see p. 103)
Snow Search (p. 43)
Martha Davis
CFMDC (see p. 103)
Solid Objects (p. 35)
Darshana Vora
Sommer in Deutschland, Ein (p. 37)
Ichiro Sueoka
Son Image (p. 75)
Alison Chung-Yan
Sound Sketch No. 5 (p. 46)
Nicky Hamlyn
Sounds Kubota Sounds (p. 29)
Annette Mangaard and Nobuo Kubota
Stationary Music (p. 37)
Jayne Parker
LUX (see p. 103)
Stopping Circle (p. 45)
Shizuko Tabata
Su Naa (My Big Brother) (p. 31)
Helen Haig-Brown
V tape (see p. 103)
102
Time’s Wake (once removed) (p. 41)
Vincent Grenier
CFMDC (see p. 103)
Video Paint (p. 57)
Jeremy Bailey
Vtape (see p. 103)
Two Hummingbirds (p. 31)
Mary J. Daniel
Undivided Attention (p. 43)
David Ellsworth
Untitled Displacement Series #2 (p. 35)
Pavitra Wickramasinghe
Uranium Womyn 238 (p. 33)
LisaNa Macias-Red Bear
Urban Deconstructions (p. 70)
Alekos Hofstetter, Holger Lippmann, Paul Raff,
David Warne
Goethe-Institut (see p. 103)
Utopia Suite (p. 85)
Clive Holden
Vacancy (p. 44)
Matthias Muller
CFMDC (see p. 103)
Distributors & Galleries
Agência da Curta Metragem
Apartado 214
4481-911 Vila do conde
Portugal
(t) + 351 252 646683 (f) + 351 252 638027
Andrea Rosen Gallery
525 West 24th Street
New York, NY 10011
(t) 212 627 6000
Art Gallery of York University
Accolade East Building
4700 Keele Street
Toronto ON Canada M3J 1P3
(t) 416 736 2100 ext. 88602
Barbara Gladstone Gallery
Attn: Rosalie Benitez
515 W. 24th Street
New York NY 10011 USA
(t) 212 206 9300
Canadian Filmmakers Distribution Centre
(CFMDC)
37 Hanna Ave. #220
Toronto ON Canada M6K 1W8
(t) 416 588 0725 (f) 416 588 7956
Canyon Cinema
145 Ninth Street, Suite 260
San Francisco, CA 94103 USA
(t) 415 626 2255
Cobra Films
(t) +32 (0)2 512 70 07 (f) +32 (0)2 511 38 28
(e) cobrafi[email protected]
DA2 - Digital Arts Development Agency
Artistic Director: Peter Ride
University of Westminster
70 Great Portland Street
London UK W1W 7NQ
De Filmbank
Postbus 74782
1070 BT Amsterdam, The Netherlands
(t) 020 6125184
(e) info@filmbank.nl
Film and TV Institute of India
Attn: Mr. Sharan, Director
Law College Road
Pune INDIA 411 004
Film & Video Umbrella
52 Bermondsey Street
London SE1 3UD UK
(t) 020 7407 7755
Film Division
Ministry of Broadcasting & Information
Government of India
Attn: Mr. Mukerjee, Branch Manager
Pedder Road
Mumbai INDIA 400 026
Groupe Intervention Vidéo (GIV)
5505 St Laurent #3015
Montreal QC Canada H2T 1S6
(t) 514 271 5506 (f) 514 271 6980
Goethe-Institut Toronto
Toronto ON Canada M5H 4C6
(t) 416 593 5257
Instituto Cubano del Arte e Industria Cinematográficos (ICAIC)
[email protected]
LIBRARY OF CONGRESS
MOTION PICTURE, BROADCASTING AND
RECORDED SOUND DIVISION
101 Independence Ave S.E.
Washington DC 20540-4690 USA
(t) 202 707 5840 (f) 202 707 2371
Light Cone
12, rue des Vignoles
75020 Paris, France
(t) + 33 (01)146590153 (f) +33 (0)146590312
LUX
3rd Floor, 18 Shacklewell Lane
London UK E8 2EZ
(t) +44 (0) 207 503 3980 (f) +44 (0) 207 503 1606
National Film Board of Canada (NFB)
3155 Ch. De la Côte-de-Liesse
St-Laurent QC Canada H4N 2N4
(t) 514 283-9439 (f) 514 496-1895
Mercer Union Centre for Contemporary Art
37 Lisgar Street
Toronto ON Canada M6J 3T3
(t) 416 536 1519
Museum of Contemporary Canadian Art
(MOCCA)
Toronto ON Canada M6J 1G8
(t) 416 395 0067 (f) 416 395 7598
One Take Super Eight Event
c/o Alex Rogalski
Pari Nadimi Gallery
254 Niagara Street
Toronto ON Canada M6J 2L8
(t) 416 591 6464
Sixpack Film North America
c/o Ralph MacKay
Video Data Bank
SAIC, 112 S. Michigan Ave.
3rd Floor
Chicago IL USA 60603
(t) 312 345 3550 (f) 312 541 8073
Vidéographe
460, rue Sainte-Catherine Ouest
Montréal QC Canada H3B 1A7
(t) 514 866 4720 (f) 514 866 4725
Video Pool
# 300 - 100 Arthur St.
Winnipeg MB Canada R3B 1H3
(t) 204 949 9134 (f) 204 942 1555
Vtape
401 Richmond St. W. #452
Toronto ON Canada M5V 3A8
(t) 416 351 1317 (f) 416 351 1509
[email protected]
103
FESTIVAL venues
SUBWAY
STATION
2
SUBWAY
CONNECTION
McCAUL ST.
3
19
13
20 4
9
12 18 7 17
5
21
16
14
1
8
ATLANTIC AVE.
10
1
104
6
HANNA AVE.
LIBERTY ST.
15
401 Richmond Galleries 401 Richmond Street West
11
11
Harbourfront Centre (York Quay Gallery) 231 Queens Quay West
A Space Gallery (Suite 110)
12
InterAccess Electronic Media Arts Centre 9 Ossington Avenue
Gallery 44 Centre for Contemporary Photography (Suite 120)
13
Jackman Hall, Art Gallery of Ontario 317 Dundas Street West
Images Festival Mediatheque (Suite 448)
14
John Spotton Cinema, National Film Board of Canada 150 John Street
Prefix Institute for Contemporary Art (Suite 124)
15
Liaison of Independent Filmmakers of Toronto (LIFT) 171 East Liberty Street, Suite 301
Trinity Square Video (Suite 376)
16
Mercer Union 37 Lisgar Street
V tape (Suite 452)
17
Museum of Canadian Contemporary Art (MoCCA) 952 Queen Street West
Women’s Art Resource Centre (Suite 122)
18
Paul Petro Contemporary Art 980 Queen Street West
Wynick/Tuck Gallery (Suite 128)
19
Sneaky Dee’s 431 College Street
YYZ Artists’ Outlet (Suite 140)
20
Vatikan 1032 Queen Street West
21
Workman Theatre 1001 Queen Street West
2
Art Gallery of York University 4700 Keele Street, Accolade East Building
3
Bloor Cinema 506 Bloor Street West
4
Camera Bar 1028 Queen Street West
5
Cameron House 408 Queen Street West
6
Design Exchange 234 Bay Street
7
Edward Day Gallery 952 Queen Street West
8
Gallery TPW 80 Spadina Avenue, Suite 310
9
Gladstone Hotel 1214 Queen Street West
10
Goethe-Institut 163 King Street West

Festival Catalogue

Transcription

Similar documents

Presskit

Bowral Tulip Time Festival Free Bus Free Bus

baf application for participation 2013

press kit - B-Hen

and spend the afternoon enjoying: And so much more!

karaoke! press kit

team building at rinx

Year End Report - Afro

Fall 2015 ArtsLink Newsletter

star signs a daily crossword sudoku puzzle daily